Interviews with Today's Top Artists and Photographers - https://mymodernmet.com/category/interview/ The Big City That Celebrates Creative Ideas Tue, 21 Jan 2025 14:20:13 +0000 en-US hourly 1 https://mymodernmet.com/wp/wp-content/uploads/2021/06/cropped-My-Modern-Met-Favicon-1-32x32.png Interviews with Today's Top Artists and Photographers - https://mymodernmet.com/category/interview/ 32 32 Street Artist Leads Non-Profit That Transforms Miami Schools Into Vibrant Pieces of Art [Interview] https://mymodernmet.com/awall-mural-project-registered-artist/?adt_ei={{ subscriber.email_address }} Wed, 22 Jan 2025 14:50:08 +0000 https://mymodernmet.com/?p=714854 Street Artist Leads Non-Profit That Transforms Miami Schools Into Vibrant Pieces of Art [Interview]

Believing in the ability of art to create a positive environment for learning, aWall Mural Projects has produced over 150 murals at schools across Miami Dade County since 2018. Founded and directed by artist Sergio Arce, who paints under the name Registered Artist, this year's round of murals reached a peak during Miami Art Week. […]

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Street Artist Leads Non-Profit That Transforms Miami Schools Into Vibrant Pieces of Art [Interview]
aWall Mural Projects 2024

Nina Valkhoff

Believing in the ability of art to create a positive environment for learning, aWall Mural Projects has produced over 150 murals at schools across Miami Dade County since 2018. Founded and directed by artist Sergio Arce, who paints under the name Registered Artist, this year's round of murals reached a peak during Miami Art Week. During that time, about 30 international artists descended on Miami to transform bleak school walls into something special.

For Arce, this period is the culmination of hard work that not only involves selecting artists and coordinating their murals, but begins much earlier through fundraising and working with schools to select walls in need of art. For the 2024 edition, he also mentored two college students in the art of mural-making and allowed them to contribute to his two finished pieces.

“The aWall Mural Projects is an incredible example of the positive power of art,” says Eugene Kim, co-founder and editor-in-chief of My Modern Met. “I was honored to meet some of the participating artists while providing media coverage for My Modern Met during Miami Art Week and Art Basel Miami. They are such good-hearted people with amazing talents.

“The stunning large-scale murals they created, at multiple schools across Miami, will impact thousands of children’s lives and I’ve seen comments on social media where students, past and present, are excited and proud that these artworks are being displayed at their schools. Imagine how this will impact their attendance, participation, education, and overall future. Kudos to Sergio (Registered Artist) and all of the participating artists for their massive contributions.

Arce's hard work and dedication to bettering these schools, which are primarily located in low-income areas, is undoubtedly commendable. Drawing on a wide array of skills, he's been able to steer aWall into a shining example of the transformative power of public art. “My Modern Met is proud to donate to the aWalls GoFundMe campaign,” Kim adds. “Our hope is that the community will support them as well so that they can continue to grow and do their important work.”

We had the chance to speak to him about the impetus behind aWall, what it's like managing the festival, and his hopes for the future. Scroll down for My Modern Met's exclusive interview and support future aWall murals through their GoFundMe.

Registered Artist mural for aWall 2024

Registered Artist

How long have you been painting and creating your own work out in the street?

I have been painting for over 15 years now and putting my work out in the streets for about maybe 13 years now.

How did aWall come about?

What inspired me to create aWall was seeing some of my peers creating their own art projects. At first, I just wanted to bring more art to blighted areas, but I soon found an opportunity to bring that art to public schools.

Shane Grammer mural in Miami

Shane Grammer

How does it feel to be on the other side as an organizer and director of a festival, rather than strictly an artist?

Before tackling this task of being an organizer and director of a mural festival, I was a charge nurse at the University of Miami Hospital. This gave me the opportunity to build on my leadership skills, manage a team, and work for a common goal. The biggest challenge I faced at first was just figuring how to start. I think that’s the hardest thing, taking that first step. You learn as you go, and there will always be difficulties and challenges, but without taking the initiative to even start, you will never know what you’re capable of. I believe that the fear of failing holds so many back from doing something great.

Congo

My Dog Sighs mural in Miami

My Dog Sighs

What was the process for getting walls? Did you feel that schools were receptive?

With our first project, the walls were selected for us. The schools were receptive to the project but also weary, as there was no evidence of any previous projects. They really put their faith in us to do a good job and deliver on our promises. Since then, they have placed more trust in the process and have allowed us more freedom to create.

How do you think that street art can enhance public space?

I have first-hand seen how public art can transform public space with the rise of the Wynwood Art District in Miami, FL. It went from a blighted area of Miami to an art mecca recognized worldwide. Most of the schools we partner up with are in low-income areas, and these buildings have this institutional influence, which some find dreary. In all the years we have been doing this project, one of the takeaways we’ve noticed is that students, staff, and parents have all taken more pride in their schools. This has led to more community involvement and increased attendance in these schools.

aWall Mural Projects 2024

Natalie Robinson

aWall Mural Projects 2024

Wing Chow

What type of curatorial considerations did you make when selecting artists for the project?

The process we take to curate these schools is first finding artists who share the same passion and understanding of the importance of how art programs are to early education. Therefore, we do have a screening process where sketches are submitted, and a panel reviews each submission, ensuring it will have a positive impact on the students and staff of each school. Safety is also a big priority, so we perform background checks and lightly screen social media presence to get a feel for the artist's personality.

What was the biggest challenge during Miami Art Week in getting such a large number of walls pulled off?

Currently, the biggest challenge we face during Miami Art Week is just getting through the traffic. It sounds silly, but when you have multiple schools in various areas in Miami, traffic plays a huge factor in being able to successfully complete all these murals.

aWall Mural Projects 2024

MORAZUL

aWall Mural Projects 2024

Patrick Maxcy

What do you hope that people take away from aWall?

What I would like people to take away from the work we are doing here with aWall is that art programs and initiatives do have a big impact on our communities. We hope to find more organizations supporting these types of initiatives.

aWall Mural Projects 2024

Dodici

Registered Artist mural for aWall 2024

Registered Artist

What's next for you and for aWall?

I’m hoping to take a few weeks off to reflect on this year’s project and see how we can improve and build a bigger impact for the upcoming year.

Registered Artist: Instagram | Facebook
aWall Mural Projects: Instagram | Facebook

My Modern Met granted permission to feature photos by Registered Artist.

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READ: Street Artist Leads Non-Profit That Transforms Miami Schools Into Vibrant Pieces of Art [Interview]

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Artist Creates Shrines Celebrating Nature by Cleverly Uniting Paintings and Hand-Carved Frames [Interview] https://mymodernmet.com/holly-lane-carved-frame-paintings/?adt_ei={{ subscriber.email_address }} Fri, 10 Jan 2025 15:45:15 +0000 https://mymodernmet.com/?p=713744 Artist Creates Shrines Celebrating Nature by Cleverly Uniting Paintings and Hand-Carved Frames [Interview]

For California-based artist Holly Lane, the picture frame is far from superfluous. Instead, the frame assumes an essential role, serving not just as a border around her paintings but also as an inseparable part of them. Though evolving throughout her multi-decade career, Lane’s fascination with the frame began as an art undergraduate at San Jose […]

READ: Artist Creates Shrines Celebrating Nature by Cleverly Uniting Paintings and Hand-Carved Frames [Interview]

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Artist Creates Shrines Celebrating Nature by Cleverly Uniting Paintings and Hand-Carved Frames [Interview]
Carved frame paintings by artist Holly Lane

“Light in the Forest,” 2020 (courtesy of the artist and Winfield Gallery).

For California-based artist Holly Lane, the picture frame is far from superfluous. Instead, the frame assumes an essential role, serving not just as a border around her paintings but also as an inseparable part of them.

Though evolving throughout her multi-decade career, Lane’s fascination with the frame began as an art undergraduate at San Jose State University in the mid-1980s. She often found herself questioning the relationship between an artwork and its frame, and why the latter was consistently designed to be inconspicuous. Lane’s solution was at once simple and radical: create a frame as grand as the painting it surrounds.

Since then, Lane’s practice has been defined by a symbiosis between picture and frame. Her intricate frames teem with rich ornamentation and organic forms, perfectly complementing her paintings chronicling the natural world and animal kingdom.

Twenty-five of Lane’s carved frame paintings are currently on view in an exhibition at New Museum Los Gatos (NUMU). Open until January 12, 2025, the exhibition titled Not Enough Time to Love the World explores the artist’s core interests, including mythology, climate change, and environmental sanctity, all while showcasing how she has reconceptualized the frame.

My Modern Met had the chance to speak with Holly Lane about her creative process, thematic underpinnings, and NUMU exhibition. Read on for our exclusive interview with the artist.

Carved frame paintings by artist Holly Lane

Holly Lane creating “Gentle Muse” (2010)

What originally sparked your fascination with the frame?

While an undergraduate in painting I began thinking about frames. I was reading philosopher Jacques Derrida’s analysis of how conceptual frames often subconsciously precondition our perception of what is at the center.

A factor I was considering at that time was if a painting had a frame at all, it was a thin line, serving as protection for the art, and as a conceptual dividing line. The frame was a demarcation line that indicated that all that was within was art—the frame itself, and all that was outside the frame was not art. A good frame was to be inconspicuous.

While pondering the nature of frames, I found some illuminated manuscripts in the San Jose State University library and saw how the scrolling borders visually commented on the text.  Sometimes the borders had naughty creatures spoofing the text, even mooning the text—that was my moment of epiphany. I realized that a frame could be many things: it could be a commentary, an informing context, and a conceptual or formal elaboration. It could also embody ancillary ideas, it could be a shelter, it could be an environment, it could be like a body that houses and expresses the mind, and many other rich permutations.

From that point I began to create pieces that fused frame and painting, with some pieces having doors that open and close over paintings to suggest contingency, potentiality, future, past, or cause and effect.

Carved frame paintings by artist Holly Lane

“Cottonwood Moon,” 2023 (Photo: Courtesy of the artist and Winfield Gallery)

Why does it feel significant to achieve a symbiosis between frame and painting?

By making a frame that is one with the work I hope to eliminate a sense of border, of outside and inside. In doing so, I seek to address two spatial modes of aesthetic perception.

To experience the space of a painting we project our minds into it and, because of this, I see the pictorial space as a mind space. On the other hand, the spatial qualities of sculpture exist in our own physical space—we walk around it, proportion our bodies to it—so in part, sculpture is apprehended or “seen” by the body. By fusing sculptural frames with pictorial images, I hope to address both these modes of human aesthetic perception.

Furthermore, I use architectural forms in the frame because architecture is a human construct that encodes our needs, intentions, and predilections. These architectural frames are a stand-in for the human mind, culture, and consciousness. By placing nature inside an architectural frame, I show nature as held within our minds. Climate change calls us to re-envision nature from one of utility to intimacy and even sanctity, so placing nature within sacred architecture reframes nature as a sacred place.

Carved frame paintings by artist Holly Lane

“Not Enough Time to Love the World,” 2022 (Photo: Courtesy of the artist and Winfield Gallery)

What is your process in creating your intricate frames?  

I have two simultaneous threads of visual ideas going on in my sketchbook, both for paintings and their frame body/extrapolation. This stage is fluid with interchanges, additions, and subtractions going on in my sketchbook.

When I decide on a frame body and the painting, I make full-size drawings on graph paper for the frame, keeping in mind the dialogue and inter-relations with the painting. I also take measurements off the precise full-scale drawings to get the proper amount of wood (primarily basswood) and to plan the carving.

After the carving, I create line drawings, value drawings, and color studies for the painting, modifying the painting if needed to be in conversation with the frame body.

Carved frame paintings by artist Holly Lane

“Wading Through Amber,” 2020 (Photo: Courtesy of the artist and Winfield Gallery)

Carved frame paintings by artist Holly Lane

“Companions, The Three Graces,” 2021 (Photo: Patrick Tregenza, courtesy of the artist and Winfield Gallery)

How do you decide which details to incorporate in your frames?   

I think about gravity, weight, proportion, balance, extension, expansion, implied movement, coherence, pattern rhythms, counter point, texture, smoothness, and shape rhyming, among other features, for the frame shapes and carving details. I usually incorporate natural forms with architectural forms, alluding to how the human-built world is entwined with the natural world.

Carved frame paintings by artist Holly Lane

“We Shall Rise,” 2024 (Photo: Courtesy of the artist and Winfield Gallery)

What was the experience in mounting the exhibition Not Enough Time to Love the World at NUMU?  

It took two years of steadily working with guest curator Helaine Glick, from proposal to opening reception. Helaine applied her many years of museum experience to shaping the proposal and working with my gallery, Winfield Gallery, of Carmel, CA, and New Museum of Los Gatos.

Once the proposal was accepted by NUMU, Helaine guided every detail. For instance, she took my artist’s statements and streamlined them for the wall text. She also coordinated with NUMU’s director of exhibitions and collections, Cristiano Colantoni, on the gorgeous installation and lighting he designed.

After the opening guest curator, Helaine, NUMU, and Winfield Gallery have supported every special event and ensuing press opportunity. It has been a wonderful experience.

Carved frame paintings by artist Holly Lane

Image from Holly Lane's “Not Enough Time to Love the World” exhibition (Photo: Rutvik Katkoriya)

Carved frame paintings by artist Holly Lane

Image from Holly Lane's “Not Enough Time to Love the World” exhibition (Photo: Rutvik Katkoriya)

How is the exhibition representative of your practice and multi-decade career?

The NUMU exhibition comprises 25 works selected from my last 14 years of creation, representing my latest frame of mind.

Earlier in my creative life, I sometimes included human figures in the landscape, rethinking myths that involve women—like Eve and Fortuna—from a women’s perspective, in an effort to show backstories. Unfortunately, we could not gather enough of these works from around the country for this exhibition.

I’m looking forward to revisiting Fortuna, the capricious ancient Roman goddess of fortune and luck. She enables me to indulge my sense of humor.

Carved frame paintings by artist Holly Lane

“Eudaimonia and the Four Pillars of the Sky,” 2010 (Photo: Courtesy of the artist)

What are some of your favorite artworks featured within the exhibition and why?

The classification of favorites is tricky. Picking a favorite artwork would be like asking a jill (a mother possum) which of her 10 joeys (baby possums) clinging to her back is her favorite.

That said, there are some works in this exhibition that currently cling especially tightly to my mind. That magnetism, however, is not due to a valuation or ranking on my part—it’s because they have aspects that I would like to develop in different ways in the future.

I feel that the bulbous vine-wrapped “vase” that supports Cottonwood Moon and the painting’s mesh of branches and leaves—which are organically logical, but at first appear to be a jumbled tangle—have more potential, both sculpturally and pictorially. In addition, I would like to achieve the height, delicacy, and use of space in Eudaimonia and the Four Pillars of the Sky in another pure sculpture.

These are just a few qualities I’d like to explore more in future works. When each work is completed, I sit with it, learn from it, allow it to guide me toward new potentials.  Being an artist is the most connected and expansive work I have ever been a part of. It is limitless.

Holly Lane: Website | Facebook
New Museum Los Gatos: Website | Instagram | Facebook

My Modern Met received permission to feature images from New Museum Los Gatos and Holly Lane. Interview has been edited for length and clarity.

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READ: Artist Creates Shrines Celebrating Nature by Cleverly Uniting Paintings and Hand-Carved Frames [Interview]

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Photographer and Scientist Shares Majestic Beauty of “Big Tuskers” [Interview] https://mymodernmet.com/greatest-tuskers-george-dian-balan/?adt_ei={{ subscriber.email_address }} Thu, 09 Jan 2025 15:45:25 +0000 https://mymodernmet.com/?p=714109 Photographer and Scientist Shares Majestic Beauty of “Big Tuskers” [Interview]

Wildlife photographer, scientist, and world record seeker George Dian Balan has long been fascinated by big tusked elephants. These “big tuskers” have tusks so large that they reach the ground, but are exceedingly difficult to find in nature. The big tuskers hearken back to the woolly mammoths of epochs past, seeming to come from another […]

READ: Photographer and Scientist Shares Majestic Beauty of “Big Tuskers” [Interview]

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Photographer and Scientist Shares Majestic Beauty of “Big Tuskers” [Interview]
Giant Tusked Elephants by George Dian Balan

“The Old Man and the Mountain”
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Wildlife photographer, scientist, and world record seeker George Dian Balan has long been fascinated by big tusked elephants. These “big tuskers” have tusks so large that they reach the ground, but are exceedingly difficult to find in nature.

The big tuskers hearken back to the woolly mammoths of epochs past, seeming to come from another time. Through his award-winning wildlife photography and extensive database of Asian and African big tusked elephants, Dian is doing his part to bring attention to these incredible animals.

After publishing his book, The World As It Once Was, Dian has continued his quest to catalog these elephants, but living and dead. This has brought him to discover not one, but two World Records. This includes the record-breaking 3.26-meter-long (about 10.7-feet-long) tusks on display at the Riga Zoo. Thanks to his diligent work, the scientific community has more knowledge about the big tuskers and this, hopefully, will push forward more conservation efforts.

We had the opportunity to speak with Dian about his work and what drives his passion for these “big tuskers.” Read on for My Modern Met's exclusive interview and to learn more about his work, you can follow George Dian Balan on Instagram.

Giant Tusked Elephants by George Dian Balan

“Quintessential Millionaire”

Where does your love of animals stem from?

I've been fascinated with wildlife ever since I can remember myself.

When I was a very young kid my parents and grandparents bought me hundreds of books in various fields and languages, from history and art to science. The ones that I cherished the most were the wildlife books, so they bought me more of those. My family wanted me to learn foreign languages and to keep me busy reading books.

Asian elephant with giant tusks

“The River of Giants”

The Greatest Tuskers by George Dian Balan

“Asian Jade Reflections”

What is it about elephants specifically that fascinates you?

I am in love with megafauna, and especially megaherbivores such as big tusked elephants, big horned rhinos, and big antlered giant moose. There is something primeval to them, they are so similar to woolly mammoths, woolly rhinos, and Ice Age giant deer, as they sport tusks, horns, and antlers of pretty much the same size as their Ice Age cousins! Being in the commanding presence of these giants of today feels for me like traveling back in time.

Giant Tusked Elephants by George Dian Balan

“Great Tusker Coconut Mandala”

The Greatest Tuskers by George Dian Balan

“The Time of Mammoths is Now”

When did your relationship with photography begin, and how has it allowed you to further your interest in animals?

Photography can be a very powerful tool. It motivates me.

While about 20 years ago I was a clumsy photographer, I have been receiving awards for wildlife photography for 17 years. The last 10 years have been dedicated to the intensive study and photography of megafauna, with an emphasis on big tusked elephants.

World Record Elephant Tusks

“World Record Raja Reflections”

World Record Elephant Tusks

“World Record Raja Reflections”

Can you share the story of how you found the World Record-breaking Asian elephant tusks?

I have the biggest database in the world regarding big tusked Asian and African elephants.

One of the elephants who fascinated me the most was Raja the Great, featured in my book The World As It Once Was on page 260. He was from the tall, robustly built, high-domed, big-tusked genetic line of Asian elephants—the rarest and most impressive of their species. He passed away in 2013.

I first wrote to the Riga Zoo in 2018 and asked about Raja’s tusks and body measurements, as well as for access to personally measure his preserved skull and tusks. While I received partial measurements, I was not granted the permission to personally examine the specimen.

After a change in the management of the Riga Zoo, I re-submitted my request in 2022. It received a favorable answer, so I traveled and took comprehensive in-situ measurements of the skull and the tusks. On that occasion, I noted that the tusk measurements received in 2018 were erroneous, as they only concerned the part of the tusks outside of the huge skull (2.61 meters [8.56 feet] and 1.49 meters [4.89 feet], respectively). By examining cracks in the alveoli, I noticed that the tusks are in their anatomical position, and not only slightly inserted in the sockets, like in the case of most mammoths displayed in natural history museums.

Therefore, I could already note that the left tusk is the new all-time world record by length and I asked for permission to take the tusk out of the skull and properly measure it. The request was promptly granted and together with the team from the Riga Zoo I celebrated my birthday in 2023 by properly measuring this impressive tusk.

Raja’s left tusk is 3.26 meters [10.7 feet] on the outer curvature and it's the new all-time world record Asian elephant tusk by length, surpassing the former record, a tusk measuring 3.01 meters [9.88 feet], belonging to the Royal Thai elephant Chao Phraya Prapubkarn (which I also measured).

Half a year after this discovery, I went on a trip to India to examine some of the biggest tusked Asian elephants alive, held captive in various locations in Kerala. Amongst them is the magnificent Manissery Rajendran. His left tusk has a staggering circumference of 58 centimeters [22.83 inches] at the lip. This is the second new World Record that I discovered. For more than 100 years, the greatest recorded circumference was 56 centimeters, the Rowland Ward World Record Asian elephant tusk (by weight), which belonged to King George VI and was presented to him in 1911 by the Prime Minister of Nepal.

World Record Elephant Tusks

“58 cm World Record”

World Record Elephant Tusks

“Dusting Mammoth”

How does it feel to know you have a direct hand in preserving this sort of history?

My work in preserving these monuments of natural history has several dimensions.

First, visually documenting these giants as it has not been done before.

Second, creating the most extensive database of its kind in the world. It also comprises 3D scans of the top 10 biggest Asian elephant skulls, a project on which I work with a distinguished international team.

Third, I am helping create a genetic database with DNA samples from Asian big tuskers, both alive and who have already passed away. I am working on this project with Colossal, an initiative by Professor George Church from the Harvard genetics lab. By taking DNA samples and breaking the big ivory codes, it is hoped to create a genetic reserve for Asian large ivory carriers. This may also help gather the last pieces in the genetic puzzle of a cold-adapted elephant, a hybrid between Asian elephants and woolly mammoths, which could benefit from vast Arctic spaces in sparsely populated areas.

Fourth, I hope to help create new sanctuaries and protected areas where big tuskers could live and reproduce.

Finally, one day I would love to see my vision reflected in a museum designed by myself, which should also play an active role in saving the big tuskers that are still alive.

Giant Tusked Elephants by George Dian Balan

“Pecking Order 2”

Giant Tusked Elephants by George Dian Balan

“Window Into Africa”

What's the biggest issue right now for big tusked elephants and what can we do to help them?

The major challenge faced by African and Asian elephants today is the loss of genetic diversity by the elimination of big tuskers. In fact, only about 40 confirmed big tuskers are left from each species, with perhaps a hundred or so more possibly emerging.

Did you know that the longer the tusks, the healthier the elephant? By analyzing elephant dung in Southern India, Professor Raman Sukumar noted that bull elephants with longer tusks had fewer parasites (nematodes). These observations are confirmed by studies in other species where males possess secondary sexual traits such as long horns and antlers or dark manes.

Therefore, the biggest threats to big tuskers right now are trophy hunting (mostly for the Africans), isolation in captivity without reproductive opportunities (mostly for the Asians), poaching and habitat loss (for both species).

Giant Tusked Elephants by George Dian Balan

“Sketching a Mammoth”

Giant Tusked Elephants by George Dian Balan

“Mammoth Sunset”

What do you hope that people take away from your work?

Jacques -Yves Cousteau used to say, “People protect what they love.” I want to make people first aware of the existence of the big tuskers and then fall in love with these giants.

My portfolio of big tusked elephant images comprises more than 30 different images awarded in photography competitions around the world, usually multiple times. This is far more than any other photographer. I innovate a lot, offering fresh perspectives on new characters, and use all possible photographing techniques, including a plethora of remote and camera trap technologies. For instance, I am the first to photograph big tusked elephants from inside a baobab tree.

Giant Tusked Elephants by George Dian Balan

“Pecking Order”

What's next for you?

I have financed my megafauna-related research and photography by having other jobs. I spent a lot of money on my trips and helping local communities. I would love to make it self-financing, to be able to go full-time on researching and photographing megafauna, helping more local communities, creating at least one sanctuary and materializing a megafauna museum reflecting my vision. I hope to sell limited-edition fine art prints and books to help me in these endeavors. The award winning book The World As It Once Was can be ordered on Amazon and in various other places, and prints directly from me.

George Dian Balan: Instagram 

My Modern Met granted permission to feature photos by George Dian Balan.

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READ: Photographer and Scientist Shares Majestic Beauty of “Big Tuskers” [Interview]

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Street Artist Captures Souls Within Large-Scale Eye Murals During Miami Art Week [Interview] https://mymodernmet.com/my-dog-sighs-interview-miami/?adt_ei={{ subscriber.email_address }} Wed, 08 Jan 2025 14:50:07 +0000 https://mymodernmet.com/?p=712462 Street Artist Captures Souls Within Large-Scale Eye Murals During Miami Art Week [Interview]

UK-based creator My Dog Sighs has loved art throughout his entire life. From sneaking it into side gigs to fortunately turning it into a living, he ultimately aims to become better and better with every project he completes. After all, creating art is more than just a job for him—it's the one thing he loves, […]

READ: Street Artist Captures Souls Within Large-Scale Eye Murals During Miami Art Week [Interview]

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Street Artist Captures Souls Within Large-Scale Eye Murals During Miami Art Week [Interview]

Colorful eye mural at Miami Art Week by My Dog Sighs

UK-based creator My Dog Sighs has loved art throughout his entire life. From sneaking it into side gigs to fortunately turning it into a living, he ultimately aims to become better and better with every project he completes. After all, creating art is more than just a job for him—it's the one thing he loves, and he considers himself lucky to be able to do it time and time again.

While some recurring motifs have become synonymous with his work—from eye murals to can art—the true beauty in the work of My Dog Sighs is in the details, making each mural, each painting, and each experimental project unique and special.

Recently, My Dog Sighs took his now world-famous colorful eyes to Miami Art Week. There, he transformed four walls into brightly colored pieces. While still connected thematically, the pieces serve as the perfect example as to why standing by a design or pattern doesn't limit an artist. Instead, it inspires one to use their creativity to the fullest.

My Modern Met has been following the work of My Dog Sighs for over a decade now, seeing him experiment with projects big and small, and canvases that go from the traditional to the unexpected. We recently had the fortunate opportunity to catch up with him and take a look back at his long career. Read on for My Modern Met's exclusive interview with My Dog Sighs.

Colorful eye mural at Miami Art Week by My Dog Sighs

How did your painting journey begin?

I’ve always painted. In the ’80s it was friends’ leather jackets, the ’90s rave backdrops but I never thought I’d be able to make a living from it. So I got a “proper job” and moved on with my life. In the early 2000s, I stumbled across the emerging street art scene and was hooked. It was the perfect opportunity to create with complete freedom. No galleries curating. Just my own creative drive pushing me forwards. As the scene exploded, I was in the right place at the right time.

Can you tell us what your creative process look like?

I’m lucky to work in a few different styles, both in my street art, mural painting, and studio work, so no two days in the studio are the same. I have a very short attention span so I’m often flitting from one piece to the next, with 30-40 pieces on the go at the same time. It means my studio is chaos. But it’s my happy place.

Colorful eye mural by My Dog Sighs

We've featured your work for over 12 years now! Looking back, how do you feel about the evolution of your practice over the years?

I’m incredibly lucky to have found the thing I love. Over the years, I’ve only ever strived to better the last piece I’ve created and the journey has been just that. One piece better than the last. The importance of play and experimentation has been key. I love the quote attributed to Picasso, “Inspiration exists but it has to find you working,” and I’ve followed that mantra, keeping busy all the time, in the hope that with every artwork I produce I get a little bit better.

Since you've experimented with both as an artist, what do you like about smaller canvases and what do you enjoy about large-scale murals?

I love the variety. Mural work offers me the opportunity to travel and meet up with other artists. Working on the street offers excitement and the opportunity to interact with the audience but my studio work keeps the introverted side of me content. Sometimes hiding away in my studio painting with a tiny brush with only three hairs and lost in tiny details is the perfect meditations, other times, being among different communities, playing with scale and throwing paint on huge walls with spray cans gets my juices flowing. I’m also moving into more sculptural work which is pushing my skill base and keeping everything fresh.

Colorful eye mural at Miami Art Week by My Dog Sighs

Artist My Dog Sighs painting an eye mural

Is there a story or meaning behind the recurring eye motif in your work?

I stumbled into the eyes quite late in my creative journey but find it the perfect vehicle to explore stories and narratives. I’m often touted as the artist who paints eyes but for me it’s the ability to hide stories within the reflections. Stories of love, loss, people and place.

You're also known for your can art. What's the latest with that project?

I was honored to be invited to have a museum show in Paris last year with a focus on my cans, pushing myself to move to oil paint as a new medium, this new medium really stretched the possibilities and outcome of my cans. They are like family. Each with their own history, their own personality. Each stepping into the world to lead their own journey.

Art on cans by My Dog Sighs

Artist My Dog Sighs painting a cat's eye on a can

Is there a particular painting you're most proud of?

It’s a cheesy answer but the best artwork I’ll ever create is the next one. Every piece an artist makes has elements they like and elements they’re not happy with. I pull the good elements forward and work on the bits I don’t like.

What do you hope people will take away from your art?

The hope, with everything I make, is that there is some connection with the audience. The dream is that some element gets stuck in their head/heart and that it makes them view their world in a slightly different way.

Colorful eye mural at Miami Art Week by My Dog Sighs

Colorful eye mural at Miami Art Week by My Dog Sighs

My Dog Sighs: Website | Instagram

My Modern Met granted permission to feature photos by My Dog Sighs.

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Colorful Geometric Street Art Murals Celebrate the Vibrancy of the Human Spirit [Interview] https://mymodernmet.com/brian-peterson-street-art-murals/?adt_ei={{ subscriber.email_address }} Tue, 07 Jan 2025 21:15:39 +0000 https://mymodernmet.com/?p=713060 Colorful Geometric Street Art Murals Celebrate the Vibrancy of the Human Spirit [Interview]

Out of all artistic media, murals are arguably the most public. Site-specific, expansive, and often highly visible, they’re unique in their ability to capture their surrounding culture and atmosphere. This is only one reason why artist Brian Peterson gravitates toward the medium. Based in Miami and working in Southern California, Peterson has developed a practice […]

READ: Colorful Geometric Street Art Murals Celebrate the Vibrancy of the Human Spirit [Interview]

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Colorful Geometric Street Art Murals Celebrate the Vibrancy of the Human Spirit [Interview]
Murals by artist Brian Peterson.

“Scholarship Prep Santa Ana,” Santa Ana, CA. Depicts three heroes for the Scholarship Prep Elementary in downtown Santa Ana.

Out of all artistic media, murals are arguably the most public. Site-specific, expansive, and often highly visible, they’re unique in their ability to capture their surrounding culture and atmosphere. This is only one reason why artist Brian Peterson gravitates toward the medium.

Based in Miami and working in Southern California, Peterson has developed a practice firmly rooted in what he describes as the “essence of the human spirit.” They’re also replete with bold colors and simplified geometry, reflecting the vibrancy of the communities in which they’re found.

Peterson’s artwork, though, is not self-indulgent. In 2015, he pioneered the Faces of Santa Ana initiative, during which he painted portraits of unhoused people in his Santa Ana neighborhood and shared sale proceeds with them. Since then, the project has expanded into the non-profit Faces of Mankind, and has been featured in BBC’s Amazing Humans, NPR, and The Huffington Post.

Most recently, Peterson designed a mural for California State University’s Fullerton (CSUF) campus. The mural explodes with warm and inviting tones, and showcases a diverse array of faces, ages, and personalities. The CSUF project is indicative of Peterson’s other work, which is displayed in everything from high-end shopping facilities to homeless shelters across the country.

“I was fortunate to meet artist Brian Peterson through a mutual, local friend,” says Eugene Kim, co-founder and editor-in-chief of My Modern Met. “Before I even saw any of his artwork, what I immediately noticed was his kind and genuine heart. As you can see, Brian is an incredible talent. But even more than that, he is an amazing person. The thought and meaning behind projects like Faces of Santa Ana should absolutely be highlighted and commended. It’s an honor to see him continue to grow as an artist, and we are privileged to feature his stunning artwork and call him a My Modern Met friend.”

My Modern Met had the chance to speak with Brian Peterson about his artistic practice, his creative process, and his relationship to public art. Read on for our exclusive interview with the artist.

Murals by artist Brian Peterson.

“Lion of Judah,” Santa Ana, CA.

Murals by artist Brian Peterson.

“Lion of Judah,” Santa Ana, CA.

How has your creative practice evolved throughout time? 

My creative practice in mural production has evolved significantly over the years, with each new project offering me the opportunity to push my boundaries. I continuously challenge myself with more complex shapes, refined color palettes, and larger scales, resulting in a distinctive geometric modern street art style that has gained recognition within the broader street art community.

Moreover, I have increasingly focused on the design phase and collaborative process with clients. This phase, which includes brainstorming sessions and discussions about their business or space, has become an essential and energizing part of my work. Engaging with clients on a deeper level inspires me to create pieces that truly resonate with their vision, allowing me to produce work that feels both personal and impactful.

Murals by artist Brian Peterson.

“A Mother's Love,” Phoenix, AZ. Installed at the Phoenix Rescue Mission Women's Home.

Murals by artist Brian Peterson.

Detail from “A Mother's Love,” Phoenix, AZ. Installed at the Phoenix Rescue Mission Women's Home.

What originally drew you to murals as a medium? 

My journey into mural work began unexpectedly. At an art conference in Orange County, I met an inspiring woman who told me, “God has a word for you about your creativity.” While initially taken aback, I was intrigued as she spoke for several minutes, describing a vision of me painting the faces of the poor on a wall in my city to honor and dignify those who often feel forgotten. She foresaw this wall leading to many more across the U.S., transforming graffiti art into something meaningful.

A few months later, I received a call from a developer working on a housing project for the homeless. They asked if I would create a 180-foot mural on the back of their building. I ended up painting the faces of the formerly homeless residents, and that project became the first of many, shaping the course of my mural work ever since.

Murals by artist Brian Peterson.

“Scholarship Prep Santa Ana,” Santa Ana, CA. Depicts three heroes for the Scholarship Prep Elementary in downtown Santa Ana.

Murals by artist Brian Peterson.

Mural installed on California State University's Fullerton campus.

Murals by artist Brian Peterson.

Detail from mural installed on California State University's Fullerton campus.

What is your creative process in designing and ultimately painting a mural? 

My creative process begins with the initial phone or Zoom call with the client, where I focus on understanding their business, organization, or space—whether it's a workplace, ministry, school, or something else. I ask questions to uncover aspects of their day-to-day life that truly excite them or evoke passion.

Once I identify that spark, it becomes the foundation for my ideation process. I then design the mural digitally, typically using Photoshop and Illustrator, before transferring the final design onto the wall. I rely on Montana 94 spray cans, a painter's edge, and countless hours of careful work to bring the mural to life.

Upon arriving on-site, my primary goal is to find my “zone.” It’s a place of deep focus and flow, where I can paint for hours on end, fully immersed in the process. It’s in this space that I silence the external distractions, quiet the doubts, and push through any physical fatigue. For me, this process feels like a form of worship, often deeply spiritual, and profoundly rewarding.

Murals by artist Brian Peterson.

“La Placita,” Santa Ana, CA. Mural installed in partnership with Community Development Partners on their affordable housing development.

Murals by artist Brian Peterson.

“La Placita,” Santa Ana, CA. Mural installed in partnership with Community Development Partners on their affordable housing development.

Murals are often highly public works created on a large scale. How, if at all, do these two factors influence the themes you focus on in your work? 

I believe that creating murals in public spaces carries a unique responsibility to contribute to the narrative of the surrounding community. In every neighborhood, within just a one-mile radius, stories are unfolding, cultures are evolving, and people are creating lasting memories.

My goal is to create art that resonates with and enhances these stories. I strive to ensure that each mural feels intrinsically tied to its location, as if it could only exist in that specific place and time, reflecting the unique energy and history of that moment.

Murals by artist Brian Peterson.

“Rise Above the Storm,” Fullerton, CA. Installed in Illumination Foundations Fullerton care shelter.

How does your art embody a “contemporary street art” style? Are there other terms you would also use to classify your art? 

I don't typically categorize my style with specific labels, but I would describe it as a form of modern geometric street art. My goal is to create portraits that distill individuals down to their essential forms, using angular shapes to offer viewers a fresh perspective on the subjects, encouraging a deeper connection and understanding.

Murals by artist Brian Peterson.

“More Than an Athlete,” Ovation Hollywood, Hollywood, CA. Public mural honoring Kobe Bryant's 2018 Academy Award.

Murals by artist Brian Peterson.

“We Will Rise Above,” Philippe the Original, Los Angeles, CA. A tribute to the leaping skills of Kobe Bryant and Mookie Betts.

Murals by artist Brian Peterson.

“We Will Rise Above,” Philippe the Original, Los Angeles, CA. A tribute to the leaping skills of Kobe Bryant and Mookie Betts.

What are some of your favorite past projects, murals, or paintings? 

Some of my most meaningful projects have been my Kobe Bryant murals. As a teenager, I was a huge fan of Kobe, and as an adult, the opportunity to collaborate with his wife, Vanessa, and the Mamba & Mambacita Sports Foundation has been truly remarkable.

My three favorite Kobe murals are Forever Courtside in Pearson Park, More Than an Athlete in Ovation Hollywood, and Courthedral in Nickerson Gardens. These pieces, along with others, can be viewed at www.brianpetersonart.com.

Murals by artist Brian Peterson.

“Kobe and Gianna Courthedral,” Los Angeles, CA. Installed inside of the Nickerson Gardens Gym.

Murals by artist Brian Peterson.

“Kobe and Gianna Courthedral,” Los Angeles, CA. Installed inside of the Nickerson Gardens Gym.

What do you hope people will take away from your work? 

My favorite reaction from viewers of my work is when they are left speechless. It's that moment when the art connects with the heart on a deeper level, transcending words. This is the true power of art—the ability to evoke something intangible and profound. When I witness a quiet, reflective response, I feel grateful that the art has had a transformative impact, reaching beyond the visual to touch the soul.

Murals by artist Brian Peterson.

“Abba's House,” Asheville, NC. Installed at Western Carolina Rescue Ministries.

Murals by artist Brian Peterson.

“Love Always Wins,” Anaheim, CA. Mural installed on the parking garage adjacent to the county clerks office.

Murals by artist Brian Peterson.

“Love Always Wins,” Anaheim, CA. Mural installed on the parking garage adjacent to the county clerks office.

Do you have any exciting projects coming up? 

I’m constantly working on new projects that I’m excited about. While I can’t always share details until the murals are underway, I’m grateful for the growing opportunities opening up in new locations across the United States.

Brian Peterson: Website | Instagram

My Modern Met received permission to feature images by Brian Peterson.

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READ: Colorful Geometric Street Art Murals Celebrate the Vibrancy of the Human Spirit [Interview]

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Multidisciplinary Artist Embodies Optimism Through Her Bold and Immersive Illustrations [Interview] https://mymodernmet.com/dalkhafine-multidisciplinary-artist-interview/?adt_ei={{ subscriber.email_address }} Mon, 06 Jan 2025 17:35:50 +0000 https://mymodernmet.com/?p=711956 Multidisciplinary Artist Embodies Optimism Through Her Bold and Immersive Illustrations [Interview]

If one is a jack of all trades, the old adage quips, one is ultimately the master of none. Multidisciplinary artist and creative director Dalkhafine offers compelling evidence to the contrary. Based in Paris and Montréal, Dalkhafine masterfully slips between a myriad of media, whether it be digital illustration, 3D installation, mural art, motion design, […]

READ: Multidisciplinary Artist Embodies Optimism Through Her Bold and Immersive Illustrations [Interview]

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Multidisciplinary Artist Embodies Optimism Through Her Bold and Immersive Illustrations [Interview]

Dalkhafine illustrator

If one is a jack of all trades, the old adage quips, one is ultimately the master of none. Multidisciplinary artist and creative director Dalkhafine offers compelling evidence to the contrary.

Based in Paris and Montréal, Dalkhafine masterfully slips between a myriad of media, whether it be digital illustration, 3D installation, mural art, motion design, or even VJing for live musical performances. No matter the medium, Dalkhafine’s art consistently embodies a rare sense of optimism, her characters enlivened by bold colors, graphic lines, and dynamic compositions.

This stylistic range is what has afforded the artist collaborations with some of the world’s most renowned brands, such as Adidas, Adobe, Jeep, and RedBull. During Miami Art Week this past December, Dalkhafine even created an immersive installation for Acura and the Scope Art Show, complete with playful patterns and dreamlike visuals. Her work immediately caught the attention of My Modern Met Co-founder and Editor-in-chief Eugene Kim, who was in town for Miami Art Week.

“When I walked outside at Scope Miami Beach 2024, Dalkhafine’s gorgeous mural instantaneously caught my eye,” he shares. “The bright colors, swirling road, and three-dimensional portal drew me in. Then, when you add the metallic silver Acura, which beautifully reflects the colorful swirls from the artwork, you get an incredibly well-executed brand activation. Dalkhafine was such a pleasure to meet and so nice to interview with us at My Modern Met. It’s clear that she’s an amazing talent and one to watch in the future.”

Kim had the opportunity to interview her live in front of her installation and then My Modern Met had the chance to speak with Dalkhafine about her creative influences, her relationship to her multidisciplinary practice, and recent projects. Read on for our exclusive interview with the artist.

Dalkhafine illustrator

How has your creative practice and process evolved throughout time?

I started with a BAC in Applied Arts in France, which allowed me to explore diverse fields like product design, spatial design, architecture, and fashion. This multidisciplinary approach gave me a broad creative foundation. I then pursued higher education in 2D and 3D animation, where I refined my drawing technique, character design, and visual storytelling skills. Over time, my practice has evolved into a synthesis of these influences: today, I move between digital illustration, 3D installations, murals, motion design, and VJing for live musical performances.

Dalkhafine illustrator

Dalkhafine illustrator

What originally drew you to the illustration style you've developed?

From the start, I’ve been fascinated by color and characters. My first influences included gravure, comic books, tattoos, and films by Studio Ghibli. I developed a style defined by bold black outlines to contrast and define my compositions. Beyond that, I love conveying positive emotions to the audience through strong graphic visuals and creating immersive worlds that invite contemplation and escape.

Dalkhafine illustrator

What does it mean to you to be a multidisciplinary artist? How does this manifest itself within your work?

Being multidisciplinary means embracing the freedom to explore beyond a single medium. I experiment with illustration, animation, physical installations, and collaborations with brands to bring ideas to life in varied forms. Each discipline provides fresh perspectives and creative tools, encouraging me to take on new challenges. I particularly enjoy projects that combine multiple media, like installations integrated with motion design, as they allow me to merge all my passions into one.

Dalkhafine illustrator

Dalkhafine illustrator

You’ve worked with some of the world's most recognizable brands. What have those experiences been like?

These collaborations are always stimulating and enriching. They require finding a balance between my personal artistic universe and the brand’s project expectations. For instance, for Acura at Scope/Art Basel, I created an immersive art installation, car wraps, and stickers—a dream project for me! These experiences have pushed my creative limits, allowed me to work at unexpected scales, and provided valuable visibility for my work.

Dalkhafine illustrator

Dalkhafine illustrator

You recently created an installation for Acura and the Scope Art Show during Art Basel Miami Beach. What was the inspiration behind the design you ultimately created? What was your process in creating it?

The main inspiration came from the idea of movement and a path to follow, represented by an endless road—a nod to Acura’s innovation and the contemporary spirit of the Scope Art Show. My goal was to design an immersive piece that invited the audience to discover Acura’s new ADX while progressing toward a giant photo booth mural.

I drew significant inspiration from Miami’s stunning sunsets, which I translated into colorful gradients throughout the artwork. To add a contemporary edge, I incorporated subtle digital glitch effects at key moments. I also had the chance to design two car wraps for Acura’s new ZDX and ADX models. For these, I worked directly with the cars’ curves, ensuring the designs harmonized perfectly with their shapes and enhanced their natural aesthetic.

The overall result is a vivid, graphic universe that radiates positivity and celebrates the spirit of speed. I’m incredibly grateful to Acura for trusting me with this ambitious project!

Dalkhafine illustrator

Dalkhafine illustrator

What are some of your favorite past projects?

Some of my favorite projects include creating an art installation for the Eaton Centre in Montreal Canada, where visitors could take a colorful break in my universe. I also loved painting a mural for Adidas’ flagship store on the Champs-Élysées in Paris, a fun and new experience with a sports brand. Finally, designing inflatable installations for Canadian festivals like Mural Festival and Yorkville Festival was a thrilling experience – seeing my work come to life at 4 meters tall in 3D was truly surreal!

Dalkhafine illustrator

What do you hope people will take away from your work?

I hope my work gives people a visual and emotional pause, a positive moment in their day. I want to evoke emotions, curiosity, and wonder through immersive and poetic universes. My goal is to inspire viewers to see the world differently, adding a touch of color and joy to their lives.

Dalkhafine illustrator

Do you have any exciting new projects coming up?

At the moment, I’m learning 3D modeling because I want to develop more projects involving art installations. My goal is to bring my universe into three-dimensional spaces, interact with it, and push creative boundaries. I find this medium fascinating and would love to propose projects in the United States or even in Asia! At the same time, I’m working on a 2D animated commercial, which reconnects me with what I was passionate about during my higher education. I’m incredibly excited to share this project, I hope it’s going to be fun and visually striking!

Watch My Modern Met's exclusive live interview with the artist during Miami Art Week.

 

View this post on Instagram

 

A post shared by My Modern Met (@mymodernmet)

Dalkhafine: Instagram | Behance

My Modern Met granted permission to feature photos by Dalkhafine.

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READ: Multidisciplinary Artist Embodies Optimism Through Her Bold and Immersive Illustrations [Interview]

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The Curatorial Journey Behind Olafur Eliasson’s First Solo Exhibition in Turkey [Interview] https://mymodernmet.com/your-unexpected-encounter-umit-mesci/?adt_ei={{ subscriber.email_address }} Fri, 03 Jan 2025 15:45:05 +0000 https://mymodernmet.com/?p=712313 The Curatorial Journey Behind Olafur Eliasson’s First Solo Exhibition in Turkey [Interview]

As one of the world’s leading contemporary artists, Olafur Eliasson has staged countless solo exhibitions around the world. Your unexpected encounter, however, is his first in Turkey. Running through February 9, 2025, at Istanbul Modern, the exhibition travels through Eliasson’s 30-year career, cataloging the dynamic and participatory nature at the core of his artistic practice. […]

READ: The Curatorial Journey Behind Olafur Eliasson’s First Solo Exhibition in Turkey [Interview]

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The Curatorial Journey Behind Olafur Eliasson’s First Solo Exhibition in Turkey [Interview]

"Olafur Eliasson: Your unexpected encounter" at Istanbul Modern

As one of the world’s leading contemporary artists, Olafur Eliasson has staged countless solo exhibitions around the world. Your unexpected encounter, however, is his first in Turkey.

Running through February 9, 2025, at Istanbul Modern, the exhibition travels through Eliasson’s 30-year career, cataloging the dynamic and participatory nature at the core of his artistic practice. Each artwork demonstrates Eliasson’s incredible command over light, color, geometry, and perspective, revealing his continued preoccupation with environmental themes.

Ümit Mesci, a member of the curatorial team at Istanbul Modern, served as one of the exhibition’s curators, along with his colleagues Öykü Özsoy Sağnak and Nilay Dursun. What proved essential within Mesci’s curatorial framework was incorporating site-specific artworks while also emphasizing Eliasson’s thematic range.

“I had the pleasure of visiting Olafur Eliasson’s exhibit at Istanbul Modern and walked away incredibly impressed. I loved the way the artworks played with light, reflection, and color. It was so thoughtful and interactive, sparking joy and playfulness. It was absolutely beautiful,” Eugene Kim, co-founder and editor-in-chief of My Modern Met, says. Thanks to a visit organized by Turkish Airlines, Kim was able to experience the exhibition in the company of Mesci. “Big thanks to Istanbul Modern curator Ümit Mesci for giving us a tour and much-deserved credit for curating such a lovely exhibit.”

My Modern Met had the chance to talk with Mesci, learning more about his curatorial process, the inspirations behind the Eliasson exhibition, and upcoming projects at Istanbul Modern. Read on for our exclusive interview with the curator.

"Olafur Eliasson: Your unexpected encounter" at Istanbul Modern

The outside of Istanbul Modern (Photo: Eugene Kim/My Modern Met).

What inspired you to pursue a career in curation? What led you to Istanbul Modern?

In 2011, I was in Venice, conducting research and trying to complete my master's thesis in architectural history. My friends I had met there from the university would work at the German Pavilion at the Venice Biennale. However, as I didn't speak German, it was not feasible for me to work with them. That is when I got in touch with the Pavilion of Turkey, coordinated by the Istanbul Foundation for Culture and Arts (İKSV), which also organizes the Istanbul Biennial and the Istanbul Design Biennial, as well as other major festivals in Istanbul.

After contributing to various projects at the foundation, a vacancy opened in the curatorial department at Istanbul Modern in 2017. I have been following the museum since 2004, since the very first day the museum opened its doors as the first modern and contemporary art museum in Turkey. I applied, and I have been working at the museum ever since.

"Olafur Eliasson: Your unexpected encounter" at Istanbul Modern

"Olafur Eliasson: Your unexpected encounter" at Istanbul Modern

"Olafur Eliasson: Your unexpected encounter" at Istanbul Modern

What was the process of curating Olafur Eliasson: Your unexpected encounter? How did you decide which artworks to feature and how to place them within the space?

Particularly due to the pandemic, the opening of the new museum building happened later than planned. Therefore, the preparations for the Olafur Eliasson exhibition, which I curated with my colleagues Öykü Özsoy Sağnak and Nilay Dursun, also took longer than expected. I think the most interesting aspect was outlining the curatorial framework and deciding the artworks in the exhibition before our new building was completed. That is why, as the construction was being erected, we revisited the selection over and over again.

We were sure about a few things from the start, however. We knew that we wanted to present the artist's 30-year career to our visitors; and Eliasson, due to the location of the museum by the water, focused on the concepts of navigation and orientation. Furthermore, we wanted to draft an exhibition that goes beyond the white cube, which would be in a dialogue with the Bosphorus and Istanbul. In the light of all these ideas and decisions, we structured the Your unexpected encounter exhibition with the artist and his studio.

"Olafur Eliasson: Your unexpected encounter" at Istanbul Modern

Photo: Eugene Kim/My Modern Met.

"Olafur Eliasson: Your unexpected encounter" at Istanbul Modern

"Olafur Eliasson: Your unexpected encounter" at Istanbul Modern

Photo: Eugene Kim/My Modern Met.

Your unexpected encounter is Eliasson's first solo exhibition in Turkey. What is the significance of this moment?

Olafur Eliasson's exhibition addresses various topics, including the climate crisis, as well as some fundamental themes in visual arts. Eliasson, as always, surprises us with ordinary materials in an “unexpected” way by exploring the limits of form and perception. Color, light, and movement allow us to see the world we are in through different lenses. The exhibition also transforms our experience at the museum's new building and creates new grounds for interaction with the city.

I think it is also important to see artists from Turkey’s art history and Eliasson under the same roof, albeit in different galleries within the museum. It is mesmerizing how some artworks from different geographies and periods are able to challenge the existing narratives and enable new dialogues. Beyond all these, I would like to underline the value of presenting Eliasson’s productions in a metropolis like Istanbul, where many art enthusiasts unfortunately have limited travel opportunities.

"Olafur Eliasson: Your unexpected encounter" at Istanbul Modern

Photo: Eugene Kim/My Modern Met.

"Olafur Eliasson: Your unexpected encounter" at Istanbul Modern

Photo: Eugene Kim/My Modern Met.

"Olafur Eliasson: Your unexpected encounter" at Istanbul Modern

What were the challenges in curating the exhibition? What were your favorite moments?

Curating an exhibition is not only working on the physical outcome inside a gallery but also a process of mutual learning between artist, curator, and institution. I believe it is important to see challenges as stimulating opportunities to develop new methodologies. However, at the same time, the dimensions of some of the works in the exhibition, the complexities of the production processes, or building a large-scale pool in the gallery for the installation Model for a timeless garden were a few concrete challenges.

But of course, in the end, it is great to witness that the artist is satisfied, and the museum audience enjoys discovering what you have been working on, such is the case with this exhibition.

"Olafur Eliasson: Your unexpected encounter" at Istanbul Modern

"Olafur Eliasson: Your unexpected encounter" at Istanbul Modern

When curating, what are a few things you keep in mind?

Each exhibition at the museum is realized by people who come together with diverse responsibilities and purposes. Throughout the process, it is important to keep in mind the main objectives of the exhibition and the unique characteristics of the artists with whom we are working. It is also critical to take into account that the visitors experiencing the exhibition have very different backgrounds, knowledge, and interests.

Above all, it is also necessary to think about the relationship between the context of the temporary exhibition and the museum’s collection, which is the most fundamental asset for a museum.

"Olafur Eliasson: Your unexpected encounter" at Istanbul Modern

"Olafur Eliasson: Your unexpected encounter" at Istanbul Modern

What do you hope people will take away from your curatorial work?

Naturally, just like every curator, I have my own areas of interest and expertise. However, as a curator working at an institution, I always find it important to prioritize the museum's core strategies and mission. For this reason, I focus on how our audience can interact with the ecosystem we develop at Istanbul Modern.

In this context, I am trying to establish a framework in which the artists in our collection, especially from Turkey, and productions from different geographies will be able to come together in a meaningful way. I also find it highly relevant to discover new artists and contextualize tendencies from history to the present day.

"Olafur Eliasson: Your unexpected encounter" at Istanbul Modern

 

Do you have any exciting projects coming up in the near future?

We are currently working on a retrospective of Ömer Uluç set to open in March 2025. Following that, we will have an Ali Kazma exhibition at our Photography Gallery. Last but not least, there will be a new collection exhibition in the new season as well. In addition to all these, we are restructuring our International Artist Residency Program, which was initiated in 2018.

Exhibition Information
Olafur Eliasson
Your unexpected encounter
June 7, 2024—February 9, 2025
Istanbul Modern
Kılıç Ali Paşa Mahallesi, Tophane Iskele Caddesi
No:1/1 34433 Istanbul, Türkiye

Istanbul Modern: Website | Instagram | Facebook
Olafur Eliasson: Website | Instagram

My Modern Met granted permission to feature photos by Istanbul Modern.

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READ: The Curatorial Journey Behind Olafur Eliasson’s First Solo Exhibition in Turkey [Interview]

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Artist Turns Icy Landscape Into Ephemeral Art Inspired by Spiral Forms of Ammonites [Interview] https://mymodernmet.com/david-popa-interview-ammonites/?adt_ei={{ subscriber.email_address }} Thu, 26 Dec 2024 18:30:53 +0000 https://mymodernmet.com/?p=711733 Artist Turns Icy Landscape Into Ephemeral Art Inspired by Spiral Forms of Ammonites [Interview]

Artist David Popa is known for his extraordinary earth murals. Using natural materials, he creates stunning ephemeral pieces that slowly blend back into the Earth. For one of his latest projects, he was inspired by nature itself, specifically the spiral form of ammonites. These prehistoric shelled cephalopods died out about 66 million years ago, but […]

READ: Artist Turns Icy Landscape Into Ephemeral Art Inspired by Spiral Forms of Ammonites [Interview]

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Artist Turns Icy Landscape Into Ephemeral Art Inspired by Spiral Forms of Ammonites [Interview]

Ammonite by David Popa

Artist David Popa is known for his extraordinary earth murals. Using natural materials, he creates stunning ephemeral pieces that slowly blend back into the Earth. For one of his latest projects, he was inspired by nature itself, specifically the spiral form of ammonites.

These prehistoric shelled cephalopods died out about 66 million years ago, but their fossils can be found around the world. Their unique shape, which echoes the golden ratio, spoke to Popa, and when he saw a section of ice with a protruding rock in southern Finland, he knew that he's come upon the perfect canvas.

Created using charcoal and water, Ammonite is a stunning piece that Popa shows off through well-executed videos and photography. He then transformed the piece into a limited-edition print that captures the spirit of the original. We had the chance to speak with Popa about Ammonite and his philosophy about creating ephemeral art. Scroll down to read My Modern Met's exclusive interview.

 

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What attracted you to the form of ammonites?

Ammonites have always fascinated me. They’re these fossilized spirals—remnants of creatures that lived millions of years ago—and to me, they embody time itself. There’s something poetic about their form: cyclical, eternal, and yet fragile. They remind us that life leaves traces, even after it’s gone. In a way, ammonites are nature’s art, capturing the passage of time in a single, beautiful form. That idea felt deeply connected to the themes I explore in my work.

Ammonite by David Popa

Can you tell us a bit about how you scout your locations?

Scouting locations is about searching for resonance—finding places where the landscape feels like an extension of the piece I want to create. In this case, I was working on the Baltic Sea, only about 20 minutes from my house. My process was quite simple: I headed out with my drone. I found this incredible spot where rock formations were cracking and protruding through the ice, almost as if they were pushing their way out of the surface. I knew immediately that this would be the center of the piece, a place for the ammonite to spiral out of—as if being birthed from the earth itself.

Given the shifts in weather, do you have to start creating immediately after finding your location, or is there flexibility?

When working specifically on the ice, I have to start almost immediately. The conditions can change drastically from one day to the next, whether it’s temperature, wind, or shifting ice. If I find a location that resonates, I begin working right away—because I know that it might not look the same even a few hours later.

 

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How long did the piece take to execute, and what type of materials did you use in order to be sensitive to the environment?

The Ammonite piece took about a day to create. I work quickly due to the scale and the unpredictability of the environment. For materials, I use natural pigments—chalk, charcoal, and earth pigments—that are completely non-toxic and biodegradable. They blend back into the land over time without leaving a trace, which is important to me.

Many art lovers take the permanence of art very seriously. Museums go to great lengths to ensure the permanence of works, and artists are often told they must ensure their work lasts over time. Your work is quite the opposite. What is it about working with impermanence that speaks to you?

Impermanence feels honest. Life is fleeting, fragile, and constantly changing. Why should art be any different? Working with impermanence forces both me and the viewer to be present—to appreciate the work while it’s there, knowing that it won’t last forever. It’s a reminder of the beauty in letting go, in the cycles of creation and disappearance. The earth takes the work back, and in that, there’s a kind of poetic completion.

Ammonite by David Popa

What is your favorite part of the creative process? Is it the execution or watching the evolution after the fact?

My favorite part of the creative process is when I’m out at the location, working in the context of nature. I generally don’t reference my drone very often, so when I pull it up for the first time and see the work from above, it’s always such a surprise. The way nature interacts with the piece is something I could never have predicted. Sometimes, the surprise works in the opposite way—the piece doesn’t look as good as I imagined. But that element of not knowing what the end result will be keeps me coming back for more.

 

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What do you hope that people take away from this piece in particular?

I hope Ammonite gives people a moment of reflection. It’s about connecting with something bigger than ourselves—nature, time, and the beauty of what’s been left behind. I want viewers to feel a sense of awe at how the earth carries its history and to reflect on their own place in that cycle.

What’s next?

I don’t generally know what’s next, and I think that’s part of the journey. That said, I’d like to spend more time creating fuller, longer films about the entire adventure of my work—capturing not just the art, but the entire process of being out in nature and creating. I hope to focus on that in 2025, along with any future brand or public art projects that come my way.

David Popa: Website | Facebook | Instagram | Shop

My Modern Met granted permission to feature photos by David Popa.

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READ: Artist Turns Icy Landscape Into Ephemeral Art Inspired by Spiral Forms of Ammonites [Interview]

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Artist Creates Parallel Universes and Fantastical Worlds for Top Fashion Brands Through Digital Collage [Interview] https://mymodernmet.com/constantin-prozorov-digital-collages/?adt_ei={{ subscriber.email_address }} Thu, 19 Dec 2024 18:30:05 +0000 https://mymodernmet.com/?p=709593 Artist Creates Parallel Universes and Fantastical Worlds for Top Fashion Brands Through Digital Collage [Interview]

First coined by Cubist luminaries Georges Braque and Pablo Picasso, the term “collage” is lifted from the French word coller, meaning “to glue.” This “gluing” is central to collage, and merges a range of materials, influences, and symbols. It’s also a technique that Paris-based artist Constantin Prozorov has mastered throughout his work. Renowned for his […]

READ: Artist Creates Parallel Universes and Fantastical Worlds for Top Fashion Brands Through Digital Collage [Interview]

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Artist Creates Parallel Universes and Fantastical Worlds for Top Fashion Brands Through Digital Collage [Interview]
Constantin Prozorov's digital collages

Collage for Moncler's Genius collection.

First coined by Cubist luminaries Georges Braque and Pablo Picasso, the term “collage” is lifted from the French word coller, meaning “to glue.” This “gluing” is central to collage, and merges a range of materials, influences, and symbols. It’s also a technique that Paris-based artist Constantin Prozorov has mastered throughout his work.

Renowned for his collaborations with global fashion houses like Louis Vuitton, Moncler, and Gucci, Prozorov has reimagined the collage through a uniquely digital lens. These digital collages are sometimes humorous, other times surprising, but always fantastically dynamic.

“I met Constantin at an event that we were both invited to for Refik Anadol’s Inner Portrait exhibit in Istanbul, Türkiye,” shares My Modern Met co-founder and editor-in-chief Eugene Kim. “When I first looked into his work, I was absolutely floored by the incredible quality and creativity of his collage art. It’s no surprise that he is highly sought after by high-end luxury brands like Yves Saint Laurent, Versace, and many more. We are proud to call Constantin a My Modern Met friend.”

Prozorov’s collages are often animated using digital techniques, immersing their viewers within worlds abound with movement, color, texture, and romance. It’s clear that they embody the word’s origin: “to glue.” They unite everything from giraffes, watches, and cars to pyramids, whales, and meteors. Each composition tells a story, and draws from a rich well of visual cues, whether it be nature, urban environments, or mythical creatures.

We had the opportunity to talk to the incredible artist. Read on for My Modern Met’s exclusive interview with Provozov, where we discuss his artistic process, how he creates his wondrous visuals and animations, and his upcoming projects.

Constantin Prozorov's digital collages

Collage for the Louis Vuitton #LOUIS200 campaign.

Constantin Prozorov's digital collages

Collage for Gucci's Diary campaign.

How did you develop your personal style, and what drew you to digital collage as a medium?

My personal style is the result of years of exploring various art forms and techniques. Digital collage allows me to combine elements from different visual cultures to create new, surreal realities. This medium provides the flexibility to merge traditional art with modern digital techniques, which has been particularly beneficial in collaborations with fashion houses like Louis Vuitton and Moncler.

Constantin Prozorov's digital collages

Collage for Universal Genève.

What is your artistic process when creating your compositions? How do you decide what to feature, and how do you animate these elements?

My creative process begins with in-depth research and understanding of the brand I am collaborating with. For example, in the Louis Vuitton #LOUIS200 campaign, I symbolized the brand’s past, present, and future through the iconic Louis Vuitton trunk. I select elements that reflect the brand’s essence and combine them into a surreal composition. These elements are animated using digital techniques, adding an extra dimension to the collages and providing viewers with an immersive experience.

Constantin Prozorov's digital collages

Window display for Globus, the oldest luxury department store in Switzerland.

Constantin Prozorov's digital collages

Exhibition view from “Beyond Fashion” at CITY PARK ART SPACE in Guangzhou, China.

Constantin Prozorov's digital collages

Window display at a Louis Vuitton location.

How do you translate your digital collages into physical installations?

In my Beyond Fashion exhibition at the CITY PARK ART SPACE in Guangzhou, China, I translated my digital collages into physical installations. Sculptures, animated artworks, and large-format photographs created immersive experiences, bringing the surreal worlds of my digital pieces into physical space.

My collages have also been featured globally in every Louis Vuitton storefront, making my art accessible to an international audience. Additionally, they were used in installations for Globus, the oldest luxury department store in Switzerland, with locations in Zurich, Lausanne, Bern, Geneva, and other cities. These projects demonstrated the versatility of my work and its ability to create immersive experiences in both digital and physical forms.

Constantin Prozorov's digital collages

Collage for Moncler's Genius collection.

Constantin Prozorov's digital collages

Collage for Balenciaga.

You’ve collaborated with some of the world’s most prestigious brands and fashion houses. What has that experience been like?

Collaborating with renowned brands like Louis Vuitton, Moncler, and Universal Genève has been incredibly rewarding. Each partnership offered the opportunity to reinterpret the unique identity of the brand through my artistic lens. These experiences have not only expanded my creative vision but also deepened my understanding of the fusion of art and fashion.

Constantin Prozorov's digital collages

Collage for Gucci's Diary campaign.

What is your favorite part about your work? What do you hope people will take away from it?

What I value most about my work is the ability to create new worlds and tell stories that go beyond the obvious. I hope my art inspires people to expand the boundaries of their imagination and explore the deeper meanings behind the visual elements.

Constantin Prozorov's digital collages

Collage for the Louis Vuitton #LOUIS200 campaign.

Do you have any exciting projects coming up in the near future?

Yes, I am currently working on several exciting projects. One of them is a novel that is deeply influenced by my surreal visual language. My long-term goal is to direct a film adaptation of this work, as I plan to enter the world of cinema as a director. I draw inspiration from visionary filmmakers like Tim Burton, Wes Anderson, Steven Spielberg, and Luca Guadagnino.

Additionally, I am developing a coffee table book that combines collages with surreal travel stories. This book is designed to take readers on a visual and narrative journey where reality and fantasy intertwine. Both projects represent my ambition to explore new dimensions of my art and share my creative vision in innovative ways.

Constantin Prozorov: Website | Instagram

My Modern Met granted permission to feature photos by Constantin Prozorov.

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READ: Artist Creates Parallel Universes and Fantastical Worlds for Top Fashion Brands Through Digital Collage [Interview]

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Over 40 Palestinian Artists Organize ‘Gaza Biennale’ as an Act of Resilience [Interview] https://mymodernmet.com/gaza-biennale/?adt_ei={{ subscriber.email_address }} Tue, 17 Dec 2024 20:20:17 +0000 https://mymodernmet.com/?p=711464 Over 40 Palestinian Artists Organize ‘Gaza Biennale’ as an Act of Resilience [Interview]

Against all odds and in the face of war, Palestinian artists in Gaza have remained creative. Now, over 40 of them have come together to launch the Gaza Biennale. Currently in the funding phase, the group is looking for partner institutions in and out of Gaza to host a series of events that will showcase […]

READ: Over 40 Palestinian Artists Organize ‘Gaza Biennale’ as an Act of Resilience [Interview]

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Over 40 Palestinian Artists Organize ‘Gaza Biennale’ as an Act of Resilience [Interview]
Gaza Biennale

Aya Juha for the exhibition “Human Not Numbers,” 2024, North Gaza, Palestine

Against all odds and in the face of war, Palestinian artists in Gaza have remained creative. Now, over 40 of them have come together to launch the Gaza Biennale. Currently in the funding phase, the group is looking for partner institutions in and out of Gaza to host a series of events that will showcase the powerful voices of these artists.

According to The Guardian, some of the artists were able to cross into Egypt at the start of the war, while others continue to create while in a war zone.  While these artists may not be able to participate physically, they will attempt to recreate their work remotely or send digital copies. Occasionally, they may also be able to send out artwork with aid workers.

“No war can stop the dreams of dreamers, and no mechanisms of domination extinguish the light in the hearts and minds of creators,” say the organizers in a manifesto posted to their website.

My Modern Met had the opportunity to hear from three artists involved in the project, as they each share why they are participating in the Gaza Biennale and why they keep pushing forward to be creative even in this time of war. Scroll down to read each of their responses in full.

Over 40 Palestinian artists are coming together to launch the Gaza Biennale.

"Lost" by Yasmeen Al Daya

“Lost” by Yasmeen Al Daya (2024)

Ahmed Alasarz for the exhibition "Harvest"

Ahmed Alasarz for the exhibition “Harvest,” 2024, Gaza, Palestine

Three of these artists share what it means to them to stay creative while Gaza is under seige.

 

Ahmed Adnan

"Beyond Capacity" by Ahmed Adnan

“Beyond Capacity” by Ahmed Adnan

Why is it so important that the Gaza Biennale happen?

There is no doubt that the Biennale event has been a very important platform for conveying the voices of Palestinian visual artists in Gaza to the outside world. It has undoubtedly enhanced artistic culture, strengthened artistic connections between all generations, and formed a strong bond between artists on both academic and social levels. It is worth mentioning that the Biennale has become a focal point and a spotlight for artists from abroad to learn about what is happening in Gaza. Therefore, the Biennale is an event that must and should be continually renewed. From my personal perspective, I see the Biennale as the true lifeline for art in Gaza.

As Palestinian artists, why is it so important to keep creating?

Creativity is, of course, invaluable to life and survival, as is the deep connection between the artist and their work. There is no doubt that the Palestinian artist views creative work as a way to convey the voice of their cause, emotions, and experiences to the world outside. Creativity is a universal language that does not require letters or translation; it is the language of peace and connects visually across all cultures and civilizations, both modern and ancient. Naturally, the Palestinian artist approaches the cause in an artistic and creative manner. Therefore, it is essential to continue creating in order to document both past and future events. Art is a third lung; it's an ongoing search for art. It is as integral to Gaza as the rest of the world.

 

Maysa Yousef

 

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Why is it so important that the Gaza Biennale happen?

It is a message of resilience and strength, a declaration that we are still alive, still present, despite the ongoing genocide against us in Gaza. It’s a challenge to the brutal war we are enduring and the oppressive circumstances we face. Despite the collapse of all aspects of life and the lack of essential materials needed to create our art, we are still producing sketches and artworks. They might be simple, but they are born from nothingness, from what remains around us.

As Palestinian artists, why is it so important to keep creating?

The artist's role is no less significant than that of the photographer who captures images from the heart of critical events. The artist has lived the experience firsthand. We have lived through displacement, exile, hunger, fear, loss, oppression, deprivation, surveillance, and the ruthless exploitation by profiteers. All these conditions are evident in our works, which will travel the world to narrate and document every story we have lived.

As for the term we use to describe the catastrophic reality we endure, it is undoubtedly genocide, ethnic cleansing, and the erasure of identity and cultural heritage.

 

Motaz Naim

"Gaza and its Cities" by Motaz Naim

“Gaza and its Cities” by Motaz Naim (2024)

Why is it so important that the Gaza Biennale happen?

The Gaza Biennale holds extraordinary significance, serving as a platform for Palestinian artists to express their struggles and hopes through art. It offers a way to share our stories with the world in a creative language that resonates universally. Amid the harsh conditions we endure, this event becomes a bridge to the international community, shedding light on Gaza’s plight in a deeply human and touching manner. The Biennale is also a testament to the Palestinians' determination to preserve their culture and identity despite immense challenges.

As Palestinian artists, why is it so important to keep creating?

For Palestinian artists, creativity is both an act of resistance and a means of survival. Through art, we can preserve our cultural identity and document our experiences and suffering, which might otherwise be forgotten amidst the chaos. Creativity is a way to express hope and resilience, demonstrating to the world that we are not just numbers in news headlines but human beings with stories that deserve to be told. Continuing to create art gives us strength to confront tragedy and affirms our ability to transform pain into beauty, carrying a profound humanitarian message.

 

Gaza Biennale: Website 

All images courtesy of the artists. My Modern Met granted permission to feature photos by the Gaza Biennale.

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READ: Over 40 Palestinian Artists Organize ‘Gaza Biennale’ as an Act of Resilience [Interview]

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