Michelle Loa Kum Cheung

artist portrait cake and tea
Photo: Antoinette Haselhorst

As the days start to get longer and spring is gradually approaching in the Northern Hemisphere the idea of the utopia of a Peach Spring, the Chinese Myth of the oasis of peach blossoms, is pretty inviting to our imaginations. Michelle’s mixed media artworks encapsulate just that.  When you think of the delicacy of the blossom as it clings to the branch, the frailty of its petals, the subtlety of the colours and the changing of light as the season picks up.  So too would I describe Michelle’s work.  The ethereal, the delicate, the fragility of her applied gold leaf, detailed paintwork, whether on canvas or her painstakingly intricate pyrography, the art of burning on wood, with a heated pen.  She masterfully and gracefully applies time and tenderness as her artworks take you to this otherworldly fantasy.

pyrography artwork mixed media
The Exquisite Fall, artwork: Michelle Loa Kum Cheung
Pyography Mixed Media Artwork
Island, Artwork: Michelle Loa Kum Cheung

Michelle is a Sydney girl born and raised now living in London since 2014, her parents are from Mauritius, speak French, however from Chinese descent.  Although Michelle has never been to China yet, and visited Mauritius twice, her family’s heritage is present in her work.  Four years in the UK she is already winning awards, exhibited in a multitude of art fairs, had a residency at the gorgeous Trelex manor in Switzerland, donated works to charity auctions, including the National Youth Trust, auctioned by Grayson Perry alongside famous artists such as Pablo Picasso, Salvador Dali, Joan Miro and Marc Chagall.  Solo exhibitions in London and Sydney. 

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Artwork: Michelle Loa Kum Cheung
Pyography artwork art
Bidjigal, artwork: Michelle Loa Kum Cheung

Michelle is surprisingly humble and gracious, with an open spirit for new ideas. She tells me how her parents worked as nurses in the UK for some time then moved to Australia.  She explains how her grounded parents are concerned with her career choice as they feel she has not settled in the same way as her elder sisters.  She works part time jobs, recently at an educational charity in an operations role, other part time jobs included working in a tech start up so she can pay the bills as she builds her career as an artist.  Already selling her artworks, with a commissioned work sold just a few days ago.

portrait photography artist
Photo: Antoinette Haselhorst

This year she has been invited to India for a fully funded artist residency for three months.  Michelle initially started out taking a Psychology degree, after one year, she realised that she had to follow her calling and decided to transfer to a Fine Art Degree at the university of South Wales in Sydney.  After completing the three year undergraduate course Michelle took one year off, visiting Europe as part of her History of Art course work.  She finished with Honours in Sydney, which is equivalent to a Masters here in the UK.  She based her thesis on phenomenology, the study of structures of consciousness as experienced from the first-person point of view, in other words how we as an individual perceive the world, and what is around us.  As part of this theory, she created a three dimensional forest made of Organza, with motion censors that would light up the trees as you walked through. 

Pyography mixed media cake
A Divided Fabrication, artwork: Michelle Loa Kum Cheung
Pyography wood mixed media
Li Arising, artwork: Michelle Loa Kum Cheung

This interest in trees, is what encouraged her to start painting on wood instead of canvas and additionally, is what led her to work in pyrography, and how she enjoys the tacility of burning wood, the vibration of the surface as the pyrography pen inscribes the wood with her fine work.  While audiences commonly mistake her pyrography for laser etching and the patterns for screen printing, all the pyrography and patterns are burned and painted by hand respectively.  Her love of nature is present in all her work, as I gaze at her artwork of mountains, lakes and oceans, in rich reds, wood tones and pastel blues and gold leaf; the combination of all her medias that she uses within her artwork. The mountain of Buzhou, another beautiful piece of Chinese mythology that Michelle’s work is inspired by, looking outwards and up towards the heavens, as the mountain reaches up to hold the sky.  According to mythology the mountains supported the heavens from the Chinese Water God as he smashed his head in fury, subsequently the goddess Nüwa had to repair the sky.  Michelle first developed her recent Chinese style when she moved to London, she tells me, as her move from her birth place triggered an increased interest in her family lineage.

Pyography Gold Leaf paint
The Red Harbour, artwork: Michelle Loa Kum Cheung
gold leaf pyography mixed media
Map (The Falls Between), artwork: Michelle Loa Kum Cheung
Pyrography mixed media paint
Red Peninsula, artwork: Michelle Loa Kum Cheung
portrait photography artist cake
Photo: Antoinette Haselhorst

We take her portraits in the woods in North London, inspired by her love of nature and myths, with her basket of cake and tea as in a fairytale.  Michelle practiced gymnastics for 10 years starting at the age of eight, the discipline and the passion of training as a young girl.  It is this combination of pure creativity and driving force that shines out at me with Michelle.

Interview: Antoinette Haselhorst

portrait artist woods
Photo: Antoinette Haselhorst

Walera Martynchik

artist portrait photography
Photo: Antoinette Haselhorst

A giant heart pulsating lights in fluorescent pinks and blues, and what appeared to me as an artery illuminating the halls with its bright pastels, lighting up the dark room in fantasy as dusk fell on this wintry London evening. His giant sculptures made of wire mesh and lighting programmed to create the illusion of a beating heart.  Cosmic Consciousness is what Walera talks to me about,  when we start to discuss this body of work.  I observe Martynchik’s giant paintings in detail, I notice that everything is interlinked.  The artwork of the inner workings of a human body with lungs, arteries, in detail, then the surreal language within the artwork, horsemen fighting battles in the stomach, fallen men, headless humans.  Which represented turmoil to me, as that is where we most often feel it, in the stomach!  When I ask Walera the context of it, he doesn’t explain but illuminates what we discussed, the book by Richard Burke, Cosmic Consciousness.  That his art is what he describes  as “reconstruction of reality”.  How it also inspired artists like Piet Mondrian of universal beauty.

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Artwork: Walera Martynchik
painting art artwork
The Big Bang, artwork: Walera Martynchik
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Space Objects, artwork: Walera Martynchik

Walera’s art started as part of the Soviet Union underground movement, secretly painting his works until the first liberation, Perestroika, the reformation within the communist party of the Soviet Union during the 1980s and 1990s.  I would describe Walera’s paintings as a story within a story and when you know a bit more about him, this will make sense and his work is all the more interesting.  His father was a constable and his mum a micro biologist, however his mother passed away when he was an infant, so he was raised by his grandmother.  She taught him how to read and Walera occupied himself with 50 volumes of encyclopaedias by Stalin.  At seven he moved in with his father and step mother to the city of Grodno, what he describes as being supported by urbanisation.  Walera then explains, emphasising; that the word civilisation means urban education in the Armenian language.  He stresses the importance of Urban living and Education to me during our interview; whatever we take for granted, he lived through the oppression of free speech and western culture.

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Found-objects, artwork: Walera Martynchik
Sculpture art artworks cake
Wounded Angel, artwork: Walera Martynchik
Sculpture art cake
Space Objects, artwork: Walera Martynchik

Before the 1960s, he had no knowledge of Picasso or Salvador Dali, Walera tells me, Mark Chagall who was born in Belarus, however was expelled from his position as an artist, his work considered to poetic.  Artists in the Soviet Union were punished for experimenting, he tells me, it was considered a bourgeoise activity and eliminated from the memory of students.  Walera enrolled in the Academy of Art in Minsk, a five year course, education involved plenty of life drawing and he went on to work as a muralist making propaganda artworks for the Soviet Union.  At night he created his own secret underground works.

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Reconstruction of Heaven, artwork by Walera Martynchik
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Ecclips, artwork: Walera Martynchik


The curator Ninel Ziterova from the Estonian State Art Museum visited Martynchik’s private studio and invited him to exhibit his work at the Kadriorge Museum.  However Walera suggested a group exhibition of all the underground artists which he subsequently also curated.  The success of the show led to a series of exhibitions that became the very first Festival of the Soviet Underground Art movement in Narva and Moscow.  Walera then moved to Poland as it was what he called a ‘Free Country’ and whilst in Poland he was invited to exhibit in the UK in 1990.  Francis Bacon visited this exhibition and invited him to dinner in the West End.  During this stay in London, he experienced a culture shock, he was struck how beautiful London was, describing how he noticed the bridges, the trees and architecture, compared to what the communists had destroyed that he eventually set up home in the UK.  He has been a Londoner now 29 years and lives together with his 18 year old son.  Meanwhile he has exhibited in the Netherlands, France, Moscow, London and Singapore.  I came across his work at the London Ultra Exhibition at the Oxo Tower Bargehouse Gallery.

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Dynamic Harmony- Modern Icon, Artwork: Walera Martynchik
painting Queen Elizabeth II
Queen Elizabett II, artwork: Walera Martynchik

Walera’s work is complex and exciting, I feel like a girl lost in Aladdin’s cave as I wonder about his studio near Bow in the East End, as he prepares for his next show in Singapore.  His giant sculptures, the head of a composer and small bronze figures and musical instruments, that sit high on the bright windows, his giant robot statue standing seven feet on a stone table, makes me think of the film Iron Man.  I notice a series of paintings recollective of fictional book illustrations, only rather surreal, human figures with animal heads and roses. Martynchik illustrates to me the origins of the idea, a Christmas tradition back in the Soviet Union.  I am gazing at a portrait of a young Queen Elizabeth II, with her gentle face and calm eyes, the symbolism in the details of the abstract artworks within the painting convey a subtext. This appears in all of his portraits.  His next show is in Singapore,  15 January 2019 with his paintings based on music composers accompanied with his heart installation. 

Interview: Antoinette Haselhorst

artist portrait photography
Photo: Antoinette Haselhorst

Anabelle Del Valle

portrait artist cake
Anabelle Del Valle

What struck me about Anabelle’s work, is the graphic abstract impact.  It punches you in a good way, bold and expressive.  I noticed the systematic black and white patterns and then an expressive pop of colour.  It has a perspicuous feel to it.  It’s the way she uses space, there is empty space although this space is a pattern, like wallpaper filling up an empty room, however her collage interacts with the pattern creating a three dimensional feel to it.  Her artworks and even her street art and murals all have this similar thread, wether the black and white grid, or tiny little squares, or graphic primary colours.  Some of it creating an illusion that makes you feel as if you are standing on the edge of the universe, others that appear to move, or pull you in.  Your eye is drawn to the focal point which is the collage, or the hidden image that appears through the grid.  Bright bold reds, strong beautiful women with shoulder pad strength reminiscent of the 80’s they stand out with a statement, I am independent.  In one particular artwork the face is cut out and what appears as dart board for a face, or the swirling patterns like peacock feathers, or the girl lost in the cloud of dots.

Artwork collage mixed media cake
Artwork: Anabelle Del valle
Artwork collage art cake
Artwork: Anabelle Del Valle

The first thing I discover about Anabelle she is also a mathematician, she used to teach the subject, Algebra, trigonometry and geometry and she has a degree in Architecture, which she started in her late 20’s at the California State University, she studied in both the US, Denmark and the Netherlands. She chose Architecture over Fine Art, for practical reasons she tells me.  Her artwork she explains, is influenced by architecture and she has always been interested in patterns and fields of repetition, negative form and black and white, yet wanted to be less abstract and wanted to introduce a human figure. She plays with layers and light, using plexiglass and large canvases.  She doesn’t stop at painting, she recently created a mural in the Santa public gallery in Los Angeles, approximately 12 feet high and 5 feet wide, creating a stencil that she repeated over 200 times and then painting two figures of a woman, as if cut in half or actually disappearing into the shadows.

Collage artwork art cake
Artwork: Anabelle Del Valle
Artwork mixed media collage cake
Artwork: Anabelle Del Valle
artwork pattern collage cake
Artwork: Anabelle Del Valle
portrait artist cake Los Angeles
Photo: Luis Navarro

Del Valle was born in Mexico, Mother and daughter moved to Los Angeles when she was very young and where she grew up, it’s her hometown along with her other home back in Mexico with her extended family, a family of strong independent women, Anabelle tells me, she was raised by her single mother.   She left home at 18 remains close to her mother, brother and sister.  As a young woman she was actively working all sorts of jobs.  Along with getting married at 19 and divorcing.  An astute survivor,  Anabelle explains that a lot of her work is about processing herself and her place in the world.  Most of her work is about women and femininity and those expectations on us, she feels we have to be perfect.  “A lot of our value is sold through advertising” she tells me and her work is processing these thoughts.  She often uses stunning  and strong looking women in her collage artworks, Anabelle likes the idea of chance, the randomness how things come into your life.  She admires women who are very tenacious.  How they raise their inner minds to make them open to the world, yet have to have a voice as women and still be open and kind and have empathy.  

Artwork mixed media plexiglass cake
Artwork: Annabelle Del Valle
Artwork collage plexiglass cake
Artwork; Anabelle Del Valle

Her influences are artists like Joseph Albers the German born American artist and lecturer at Yale university one of the pioneers of the Bauhaus movement, his systematic artworks is what inspired her, the order of his work and what she enjoys when creating her own work with that infraction of colour.  Meditating whilst painting what she describes as a Mandala.  She has worked as a graphic designer creating packages and these influences are additionally recognisable in her art.  She became interested in Exhibition design and works for an architectural lighting company and is comfortable working together with architects and interior designers.  Del Valle’s first exhibition as an artist was in 2015 and her first International Art Fair this year in 2018.

Collage Artwork cake
Artwork: Anabelle Del Valle
Collage artwork patterns CAKE
Artwork: Anabelle Del Valle

Although Annabelle is at the earlier stages of her career as an artist, she is currently organising her next solo show here in the UK next year.  She explains how much she enjoyed London, walking along the Thames and viewing the landmarks that tears filled her eyes.  We talk about languages, she is naturally fluent in Spanish and English, she says something that makes me smile before we end our interview, English she explains is a very economical language its easy to explain things in short sentences, Spanish on the other hand she tells me takes forever, you have to use so many words to explain the same thing that is actually quite simple.  In a nutshell defining the differences in cultures and the luxury of experiencing both. This is reflected in both her and her work.

Interview: Antoinette Haselhorst

portrait artist cake Los Angeles
Photo: Luis Navarro

Mahaut Harley Leca

Photography portrait artist cake
Photo: Antoinette Haselhorst

Mahaut’s work epitomes female fragility, femininity and power, the allure of what is a woman, who we are and the mystery of being female.  Even though she shows the naked form, it’s how it is done that reveals a different context.  Her collages are suggestive in the relation of form and the delicate frame of the female body.  From an arm, hand, hip, thigh, the way a woman crosses her legs, the dimples on her back, the beauty of what it means to be a woman and the celebration of the feminine.  Like the feline cat with grace and allure yet strength and independence.  She explains to me that her work is the opposite of the crass and what she calls vulgar and objectifying of women and femininity.  It is about being curious again, in a generation where people want things instantly and get bored easily.

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‘Envelop’ by Mahaut Harley Leca
collage artwork artist cake
‘Envelop’ by Mahaut Harley Leca

She is a multidisciplinary artist, whether it is collage, image transfer, installations or painting.  She puts a lot of thought into it. So she was surprised when her work had been criticised by some individuals because they considered her work as objectifying women.  Quite the opposite she tells me, it is not about breasts, vaginas and sex, it’s about a personal poetic translation of her perception of being female. “Why do people have such a negative relationship to the body, we are all born naked” she explains with a subtle exasperation!  Mahaut questions this approach in our society about how on the one hand, sex, porn and violence has become an acceptable part of our modern lives.  Yet her artworks of the naked form are the opposite of objectifying the female body. It’s like the face, it is what makes us who we are, the shape of our breasts, the length of our waists, or the size of our hands and everything in relation to each other, that we can recognise a person from a distance.

Artist portrait photography
Photo: Antoinette Haselhorst
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‘Entre tes lignes’ by Mahaut Harley Leca
Painting oil on canvas artist cake
Clair Obscure, painting by Mahaut Harley Leca

Mahaut is a French name, from the golden age, which became Mathilde over time. Born and raised in London by her French parents and although a Londoner she has a subtle and beautiful French Anglo accent, due to her education, bouncing from the French system to the British system, starting out at Lycée Francais, then attending Hampton Court House and St James. She graduated with a foundation at City&Guilds in Art and Design and then attended Camberwell College of Arts where she did her degree in Fine Art painting. Additionally a semester abroad in Milan where she studied at the Academia di Belle Art, “The traditional way” she exclaims, “Life drawing twice a week”. Since then she has done two residencies one in Atina, Italy near Rome and recently at The Muse Gallery in Portobello, London.

photography portrait artist cake
Photo: Antoinette Haselhorst

Before this ongoing investigation of the body, Mahaut used to paint mainly portraits, faces of old people and people of character, but was eager to step away from her comfort zone and started to blur the works, which created something suggestive. It’s part of our interpretation of how we see the subject in the painting.  As if looking through a frosted window at someone and trying to make sense of what we see. Later, whilst in Milan she put painting aside and started to make digital collages by experimenting with images of her own body and cutting off her face, so not to reveal her identity, before focusing on other female forms, that developed into her current collage series.

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‘Wabi Sabi’ by Mahaut Harley Leca
collage artwork artist cake
‘Doré au soleil’ by Mahaut Harley Leca
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‘La main sur le coeur’ by Mahaut Harley Leca

 Mahaut explains to me that she challenged a lot of what she was taught in art school in the UK.  She believes that art is a reflection of who we are, but that she was encouraged in art college to be conceptual and political.  Her collage artworks are appropriation of images from old magazines, papers and even old porn magazines, transforming them to be something completely different. She feels she is going the complete opposite way of what contemporary art is nowadays. Traditional in her outlook of what she regards what it means to be feminine, but contemporary because she is cutting up the body and putting it back together to create something different. The body is to be appreciated for what it is, in that it is subtle.  So one could argue that Harley is being political.

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‘Volupté’ painting by Mahaut Harley Leca
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‘A Body of Work I’ by Mahaut Harley Leca
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‘Departed’ by Mahaut Harley Leca

Her installations ‘Departed’ 2017 collage artworks printed on organza 120x190cm mounted on wooden frames or hanging as curtain in front of the window at the Muse gallery. Makes the point that art is personal for both the artist and the person who chooses to purchase the work. When it comes to discussing the commercialising of her work. Harley explains that’s not why she is doing art, if her intention was to sell she wouldn’t be doing what she does. However she recently sold paintings at The Other Art Fair in London, in fact one of her main pieces, a painting was sold on opening night to a couple of collectors, a strong and subtle portrait of the naked upper torso of a woman. She teaches art to children to help pay the bills, Mahaut Harley Leca is also an Art Director in fashion.  I enjoyed this side to her when planning her shoot, when we were able to engage and share ideas, especially when she introduced me to the film director Jean Luc Goddard.  Or when she introduced me to the supercilious cake shop Pearl and Groove on Portobello Road, for our collection of cakes for the portraits. Styling for the photos are by inspiring young stylist Milena Agbaba, who additionally became hand model for those delicious cakes for our portraits.

Interview; Antoinette Haselhorst

Photography portrait artist cake
Photo: Antoinette Haselhorst

Tom Elkins

portrait artist
Photo: Antoinette Haselhorst

As all photographers know a great photo is about three main points, lighting, composition and narrative. Tom and I are sitting in a restaurant in North London talking about his work. “Photography as a creative form is incredibly gratifying very quickly” he tells me.  He is right, it is nowadays, that’s because it’s become instant, since we have digital cameras. It was a different story when we used film, with the impatience we felt as we waited for it to develop, the variations of film, understanding the processing of light on film and chemicals. Nowadays film photography has become more of an art form.  Tom has taken the digital camera and used it as a tool to capture something quite different. He loves projected light, how light falls, how it transforms as it lands on an object; following patterns on furniture, water and landscapes. Apply that to the human form, simplify it and let it reveal the complexities of it in a very different way; this is what he has created in his recent works. 

Artwork photography black and white CAKE
Photo artwork: Tom Elkins

Contours, his first series in 2013 based on this concept, is a visual treat for the eye and the imagination. Using a projector, he photographed his subjects in a dark room and what you have is the contours of the human body in a stunning display of grid like patterns. The naked woman in a chess board grid, the seated man in stripes and the blooming bulge and shape of full-term pregnancy in circular strips like Saturn’s moons. Incredibly simple and yet so effective in what the images evoke to us the audience. 

Artwork photography black and white cake
Photo Artwork: Tom Elkins
Photo artwork black and white cake
Photo Artwork: Tom Elkins

He followed this theme, playing with different ideas, like Single Line Portraits. Projecting a single light onto his subjects in the dark, the result is a beautiful single outline as the light hits the human form. He then took it another step, with this time the subjects themselves making tears in paper which light was projected through. Whilst they posed naked, the projected light revealing aspects of them. You cannot identify them but they reveal a sensuality and sexuality, I suppose. “I was surprised by what people came up with” he explains. His subjects are relinquishing control, and they have their own perspective of the outcome. Then there is a rather surreal idea, Fingerprints. Each subject had their fingerprint placed on the slide with ink, and Tom projected the light through the slide.  These portraits are particularly fascinating, the light brings out all the details of the texture on his models and the patterns resemble the skin of a snake, whether on the face or the body.

Artwork photography black and white cake
Photo Artwork: Tom Elkins
photo artwork black and white cake
Photo Artwork: Tom Elkins

Tom grew up in the seaside town of Gosport surrounded by family and moved to London in 2002 after graduating in Philosophy and English from York University. The philosophical mind and the narrative is what is projected in all his photographic work, “Good photographs are like novels with half the pages torn out” he claims. With all art it’s the thinking behind the work and how it’s implemented that is key. After graduating, he started working for charitable organisations in London, he believes in helping people. He now teaches journalistic photography to young people and children, and the charity works in 40 different countries, including Nigeria and Uganda, on a range of issues. Philosophy is best when it talks about people’s experiences, he claims. He enjoys the collaborative elements in photography and making sense of the chaos in the world. Fortunately, he is able to travel a lot with his job, to bring about change. 

Photography portrait artist cake
Photo: Antoinette Haselhorst
photography art artist cake
Photo Artwork: Tom Elkins
Photography artwork artist cake
Photo Artwork: Tom Elkins

Then he shows me his next body of work, shot in Chernobyl, of images of empty buildings, depicting the state of decline, death, and abandonment. The images depict what Health and Safety posters look like in a Nuclear disaster, 30 years later. What would have been a vibrant town, village and community has been left to decay, capturing the isolation, deterioration and loneliness. There is an abstract art element to these photographs, the colours and composition of these silent images are breath taking in the stillness and the delicate narrative, however still compelling in what they reveal. In tonal blues, soulful greys, gentle yellows and reds, they reveal a beauty about such a tragic event and the essence of time. This series of work will be his next exhibition at the University of Puerto Rico.

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Photo Artwork : Tom Elkins
photography artwork art cake
Photo Artwork: Tom Elkins

Tom Elkins struggles with the ethics of some photographs, he tells me, with how much bias we are bringing to the image ourselves in what is often seen as an objective medium. Photography is subjective in terms of the audience who sees it. He mentions how with street photography he had this problem. He is man of great conscience, if one can say that, clearly intelligent and professional, however most striking to me, thoughtful, insightful and genuine. He is married with one toddler daughter, Tom is clearly besotted with her as we talk about our children, and the adventures of watching them develop. 

Interview: Antoinette Haselhorst

photography portrait cake artist
Photo: Antoinette Haselhorst

Ed Burnand

Photography portrait artist cake
Photo: Antoinette Haselhorst

Images of dystopia, abandoned and destroyed urban landscapes and culture, Ed Burnand’s artwork is a striking narrative, made up of explorative processes and mediums.  C type photographic prints, painting and large format halftone screen prints with spray painted backgrounds have evolved into a divergent process. ‘My practise has developed over the years to establish deeply personal ways of making marks on canvas, paper and metal plates with a keen interest in the systems of making and the relationship between material properties, process and environment.  The aim is to create proto-narratives, each open to their own interpretation, but all informed by a theme or set of boundaries.’

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‘Relics in Winter’ artwork: Ed Burnand
artwork abstract art cake
Artwork: Ed Burnand

His earlier abstract work, is beautiful with the most spectacular colours and formations a science of chemical process exploration without end.  Each painting is in a perpetual state of evolution, that is until atrophy occurs.  Ed is always trying to find the ultimate backdrop, capturing paints reactions in polyurethane, uric acid etched zinc plates, exploring the system aspects of colour through ageing and oxidisation that creates a labyrinth of extraordinary patination and form.  He has the classical tuition of being a painter yet his inspirations are artists like Joseph Beuys, Robert Rauschenberg, Thomas Ruff and Anselm Kiefer to name but a few.  He is influenced by the abstract passage of time and the ebb and flow of all things.

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‘Lobophyton’ artwork: Ed Burnand

‘With something like destruction comes something else, a renewal’ he tells me. 

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‘Cosmic Soup’ artwork: Ed Burnand
portrait photography cake
Photo: Antoinette Haselhorst

His most recent body of work is a large format screen print series taken from the abandoned and partially demolished North Peckham Estate documented in 2000.  There is a historic quality to them, with a contemporary twist.  The estate was notorious for gang violence and crime, that culminated in the murder of Damilola Taylor in 2000.  Described by Ed as a rabbit warren, a disorientating place, brutal, very difficult to get in and out of and dangerous; he explains, an example of London’s social housing.  His intention was to document the destruction of this place in a state of undress.

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‘Whose Going to take the Weight’ artwork: Ed Burnand

On entering the closed off estate he was surprised to find young boys already running around vandalising the abandoned homes, throwing objects, washing machines and cookers over the terraced balconies.  His artwork captures a narrative that reflects the death of utopian idealism.  The solid large black halftone images of barbed wire/fallen brickwork with remnants of what still stands, alongside boys running in loose clothing away from the camera down a narrow passage with a Hitchcock like vanishing point.  His tower block series is based on human legacy, environment and social idealism versus economic reality.  For the most part the artworks are named after song titles ‘Midnight in a Perfect World’ ‘Whose Gonna Take The Weight’ ‘Dust Bowl’ and ‘Candy Land’ a reference to his own cultural identity and the anchoring of place and time.

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‘Dust Bowl’ artwork: Ed Burnand
artwork artist art cake
‘Midnight in a Perfect World’,   ‘Candy Land’ artwork: Ed Burnand

Ed grew up in South East London before moving to Brighton at the age of 10.  Returning in 1999 to study Fine Art painting at Camberwell College of Art, this is at odds with his overall ethos, stating, “ I’m not a painter in any traditional sense, but rather a multi disciplinary practitioner, an image-maker”.  His artistic influences in German art, surprises me, he is from a very long established English heritage and I find it refreshing to hear an Englishman speak so positively about German creativity, as we discuss both, British arts and wit as well.  His mother introduced him to art from an early age, getting him to lie about his age when he was just seven or eight, so she could take him into an Otto Dix exhibition, (noted for his realistic depictions of German society during the Weimar Republic and the brutality of war), this had a profound impact on him.

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‘Port in a Storm’ artwork: Ed Burnand

Burnand is a very informative man, as we chat about history, culture and society, it’s hard to keep up.  He is Intelligent, intellectual and knowledgeable about pretty much everything, with a sophisticated aura, however he is shy to talk about himself, this humility makes him all the more charismatic.  Ed is also a qualified bench joiner and wood machinist and runs his own business as a cabinet-maker in East London.  He is married to Bella who is also an artist and they have two young children.  They live on the river Lea, bargee travellers that cruise the inland waterways.  His love of water and boats, stems from his youth sailing on the south coast with his father.  I find his home particularly charming as he invites me onto their beautiful house boat, I immediately feel welcome when I arrive on board, entering into a bright pretty kitchen to meet some of the family.  It’s a clear sunny autumn day and we sit on top eating cake and having tea with Bella and their young daughter after our interview. 

Interview: Antoinette Haselhorst

portrait tea and cake
Photo: Antoinette Haselhorst


photo portrait artist cake
Photo: Antoinette Haselhorst

When I first laid eyes on Onyx’s work I would describe it as experiencing the Gothic Notre Dame Cathedral with its abundance of Gargoyles and decorations, combined with Toy-story’s animation and the mind of Alice in Wonderland.  His large sculptures, that take months to complete, are a journey of storytelling.  Onyx’s artwork, not his real name by the way, is about Onyx, who became what he is today after being in a coma for a month.  The sculptures are something so surreal, that you feel as if you have woken up in the middle of Pan’s Labyrinth.  A film about the unconscious and the surreal and the dream like state that we humans all experience to protect us from trauma.

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You’re Wasting my Time by Onyx 
Artwork sculpture artist cake
The Falsed Resurrection by Onyx

Onyx, or Jim, a nickname he is known as, is an artist you don’t come across often.  His works are creations of the fantasy and reality of heaven and hell, universe and aliens, women, birth and love.  A story telling in sculptures made of artefacts collected at early dawn raids from all sorts of quaint places, antique fairs, toy shops, car boot sales, charity shops, weekend ventures scavenging through worn and broken toys, lost artefacts rejected and unloved and Onyx recreates each little piece however small and fragile, to tell a whole new narrative.

Artwork lenticular 3D cake
Birth of Destructions by Onyx

The account of how a builder, who stabbed his leg accidentally with a very sharp Stanley knife, whilst finishing off a refurbishment job, fell into a coma and woke up to create these phenomenal artworks, is for enquiring minds!  I am one of them.  He explains whilst unconscious, hallucinations of being in hell, seeing the future and how like in the Matrix he traveled through a maze of nightmares with apparitions tormenting him and preventing him to find his way out.  How every level of truth, bad and good brought him closer to home and consciousness.  However, after every fail he would return to the start of hell and repeat the experience, until the final journey, where he was able to confront his demons and came back to life in the conscious world.

Portrait photo artist cake
Photo: Antoinette Haselhorst

Onyx is married to Michelle who he has been with for 22 years, they have three sons, Sonny and Mason; Michelle gave birth to Lucas two weeks ago, and I am able to cradle this beautiful infant in my arms as he sleeps and I listen to Onyx explain his journey as an artist.

painting stencil airbrush cake
Start Wars by Onyx
artwork stencil cake
The empire strikes back by Onyx

His first artworks, his paintings,  stencilling and airbrush techniques, started in recovery,  inspired by Star Wars, with the dry arid humour of a Londoner, The Start Wars and The Empire Strikes back about the Cold War hang in his gallery with his sculptures encased in glass.  Onyx, currently has five main pieces, Beethoven’s Destructive Symphony, The Birth of Destructions, You’re Wasting my Time, The Dream Catcher and The Falsed Resurrection.  Each peace has a central figure, then two lives moving from darkness to light, all telling their own anecdote.  Some about the centre of great minds, alien life, the universe and the humility to be human.  Some about who is wasting who’s time, with time cogs on cherubs.  All Sculptures start with one core character and build up layer, road, journey and weave bending and evolving to become one giant piece of three dimensional story telling.  It’s magical, frightening, curious, very beautiful and bewitching.

Artwork sculpture artist cake
The Dream Catcher by Onyx
Artwork Sculpture toys cake
Beethoven’s Destructive Symphony by Onyx

His inspirations came whilst researching designs for a tattoo that he was designing after surviving a major skin graft,  it was discovered that his injury that was undetectable, because the cut was so sharp,  the poison had entered the system and he ended up having Necrotizing fasciitis NF, and Onyx warned me to not look at the images on google as I check the spelling.  I didn’t look at the photos!  As a victory to his recovery the tattoo was a symbol of his survival and this is when he came across the artist Kris Kuksi.  Onyx subsequently decided he would make his own sculptures.  Spending months on each artwork, he made them for himself primarily, as part of his recovery.  When someone first encountered the artworks,  Onyx was advised to show the works, and he decided to have Lenticular’s made of each piece so he would have something to keep when his sculptures were sold.  Now however the Lenticular are popular themselves; each artwork is photographed 30 times on a track and the images interlaced to create a 3D image, all done on computer. The results are just out of this world.

Lenticular 3D artwork cake
3D Lenticular of Dream Catcher by Onyx
artwork lenticular 3D cake
3D Lenticular of Beethoven’s Destructive Symphony by Onyx

Onyx is a Hackney boy, who grew up with humble hardworking parents, and he had his share of troubles during his childhood.  His father devoted his time to his son’s recovery which healed old wounds of anger, his family surrounding him with love, as well as support with his recent venture as an artist.  May I point out that Onyx’s early career started out as a photographer in still life, working his way up in a studio until he himself was taking the photos of High end contracts, Tiffany jewellery, Wimbledon trophies and older Crown Jewels, here he learnt about lighting and composition.  The year was 1990, when he explains the pay was terrible, money dragged him away and he went into the building industry which paid well. There has always been the artist at the core and as with a diamond it starts out rough, it’s chipped, shaped and moulded until it shines bright.

Interview; Antoinette Haselhorst

photography artist cake woods
Photo: Antoinette Haselhorst

Mark Charlton

photo artist cake portrait
Photo: Antoinette Haselhorst

The first time I saw one of Mark’s B12 Module paintings on my laptop,  I was hooked; so fascinated was I by the impression of an initial reality of what the future could be. In these artworks, the minute details, the delicate lines and shapes that complete a whole organic type structure floating in the darkest depths of space.  Painted in sunset oranges, pine greens, sand yellows, flame reds and baby pinks, yet almost comic book in style.  The titles of each painting alone are super imaginative, The vast Supernova Reaction, Titania Still Glowing, Cold Existence in Field of Stars could be telling us a narrative of our future. His first solo show in 2015 at the Brighton Art fair featured this series, and since then he appears at The Other Art Fair in London and Brighton twice a year.

Artwork painting art cake
The Vast Supernova Reaction; by Mark Charlton
Artwork painting art cake
The Glistening Red Nova Theory; by Mark Charlton
painting art artist cake
Pluto Calling; by Mark Charlton

Today in London, he has something completely different on display, I am looking at his Titan series, large artworks with a detailed collage of his own screen printing and painted paper applied on an Aluminium panels.  Mark’s works are never pre planned he tells me, exploring various techniques, such as applied mixed media, painting, screen printing, collage.  An early bird he is in the studio at 5am gradually building up his paintings, its emotional he explains, it’s the layering in his mind his love of texture, homing in on his execution, spending hours to create the proper surface, seven to eight hours straight in the studio wearing masks as he experiments with materials. The results are just beautiful.

artwork collage screen printing cake
Titan 133; by Mark Charlton
collage artwork screen printing cake
Titan 131; by Mark Charlton

Mark I would say on first impression is what I would call a cool Englishman, highly intelligent, he is an innovator, his grasp of subtle and complex humour, his interest in the surreal and quirky.  He started out as an animator, a career choice that he made after wanting to be a pilot at the Royal airforce and then changing his mind.  He is private, discreet, polite and very interesting.  Charlton studied at North East Wales Institute of Art and Design, gaining a BA Hons in Animation Design in 2001.  After his degree he taught animation in schools, became a freelance animator and graphic designer and then set up his own animation company.  Most of his clients were in the music industry, including the famous band Passenger as well as Frightened Rabbit. His business ran for several years, yet Charlton became frustrated with it and explains how he often felt that the creative control of his work was pressured with limited budgets spending hours at the animation desk. However very grateful for the time and opportunities he had working with many of the artists. He did decide on a different journey and rented himself a studio in Hove and started to create artworks.

artwork collage screen printing cake
Titan 132; by Mark Charlton

Mark was born in Margate Kent, his father was an Electrical Engineer so they traveled when he was young, he grew up in Bangladesh between the ages of two till five, then they moved to Jordan until he was eight, when the family moved back home to Sussex.  He has never left the area for long and speaks of his love of nature and spending time with it and how much he enjoys being close too the sea.  By contrast he also loves; arguably what some would regard as the slightly disturbing cartoon series Ren and Stimpy, from America in the 90’s; about the frighting psychotic Chihuahua and a docile cat.  The incredible 2001: Space Odyssey by Stanly Kubrick, and Sci-fi Eagle comics, from the 1950’s then re introduced in the 1980’s.   His love of aeroplanes, mechanics and architecture with a particular interest in a cold war brutalist style, Monoliths he tells me, and he loves concrete as a substance.

collage artwork screen printing cake
Titan 130; by Mark Charlton

 All these interests have a clear influence on his work, although each stage of his career as an artist has something completely unique, his B12 Module series and Titan. This year his paintings are what I would describe as sensuous wall sculptures, abstract again with the attention to detail, but this time not to only grab our visual senses but the desire to stroke and touch.  As he indulges me with his technique and materials, I stroke the silken texture of concrete and run my fingers over his work, across the lines and ridges that he painstakingly created.

artwork monolith concrete wall sculpture cake
The Brighthope Fragment 1; by Mark Charlton
Wall sculpture artwork conrete cake
The Brighthope Fragment 2; by Mark Charlton
Artwork painting cake art
Cold Existence in a field of Stars; by Mark Charlton

Charlton also runs a print company together with his partner Jackie who also manages the business side of his art.  He doesn’t like to be photographed and have his image placed on the internet, but he is open minded with the idea of trying to create an image of him without really showing him as he holds a piece of cake spiked on top of a fork.  All this as we are standing in the crowded Victoria House, whilst he is managing his stall and speaking to buyers.

Interview: Antoinette Haselhorst

photo shadow cake
Photo: Antoinette Haselhorst

Jo Pethybridge

 artist ceramics cake
Photo: Antoinette Haselhorst

Vineyards in France, the Grand Canyon, the waves and ripples of water in the ocean or pine forests in summer and autumn, you are looking at ceramic art, the creations of Jo Pethybridge’s artwork.  I am looking at a bowl, and may I add, its not to be useful, this is what Jo explains to me.  The round shape alters the perspective of what is a vineyard or the ripples in sunlight on water, or her fishlike plates, star shaped dishes or what is the shape of vase.  Her work is different and none of her designs are the same, everything tells a different story, it is intricate and delicate yet bold and abstract and most defiantly contemporary.  “People keep telling me to make something useful” she tells me “I want to make something I really love and people who buy it really loves it”  and then she tells me a story of her most satisfying sale when a customer was so effected emotionally by a piece of her work, that she bought it.

Ceramics Artwork cake
Artwork: Jo Pethybridge
ceramics art c-a-k-e
Artwork: Jo Pethybridge
Artwork ceramics artist cake
Artwork: Jo Pethybridge

For Jo, art was an escape; although now retired from working as an Occupational Therapist and what earned her a living for a long time. It was creative in its own way and she loved it she explains “ I wanted to do something useful ” but it was also very stressful, ceramics was her therapy, a form of meditation.  Pethybridge and I talk about the making of her artwork and how she prepares the clay and how using her hands is one stage of the work.  Raised, to use her right hand when she is actually left handed; it was obviously cruel, however Jo looks at the positive and explains how subsequently, she can use both hands and that using her hands to dig in the earth as a child is the same when she is working the clay, very therapeutic.  We laugh at how we can remember being children and how some of us enjoyed getting down in the dirt and others were afraid to get dirty. “ The clay is my canvas ” she tells me, making them in batches, after moulding and baking and then the second stage the painting. 

Artwork ceramics artist cake
Artwork: Jo Pethybridge
Ceramic artist art cake
Photo: Antoinette Haselhorst
Artwork Ceramics artist cake
Artwork: Jo Pethybridge
ceramic art artwork cake
Artwork: Jo Pethybridge
ceramic art artists cake
Artwork: Jo Pethybridge

Jo started ceramics in her 20’s and graduated from art college in Newcastle, born in Birmingham, her father had immigrated from Poland after the war and married her Scottish mother.  Jo met her husband in Oxford, together making Manchester, Leeds and Newcastle their homes before moving back to London in 1996.  She has also traveled extensively, where much of her ideas have derived.  Jo spent time focusing on Motherhood taking time off work, to raise her two daughters and her son and now she is also a grandmother.  She took a diploma in Ceramics whilst her children were still very young and started creating and exhibiting, then returned to work as an Occupational Therapist.  Yet, there is more to Jo, she has always been an energy healer or therapist and practises yoga, she runs the Highgate Energy Healing Centre in London, and anyone can walk in.  She has also been  involved in the Women’s Centre in Kentish Town, giving some healing to African women,  who are here in England from very tragic lives, she explains, stranded in a country where they are not allowed to work until their asylum status comes through.  We had been talking about South Africa and how we both noticed that racism was still prevalent and that living in cosmopolitan London we are spoilt. “ But spoilt in a good way ” Jo adds. “ People are afraid of integration ” she points out and that London is an example of how it can work.

Ceramics Art Artwork cake
Artwork: Jo Pethybridge
Artwork ceramics cake artists
Artwork: Jo Pethybridge
Ceramics artwork artist cake
Artwork: Jo Pethybridge
artwork ceramics artist cake
Artwork: Jo Pethybridge

Pethybridge is a member of the East Finchley Open House and will be opening her house with other artists June/July 2019.  They are also holding an exhibition in November 50:50 at the Highgate Literary Society.  Currently she is thinking about applying to show at the Ceramics Art London.  Her next one is at Hornsey library with Islington Arts Society, which will be opened by Tristram Hunt, the director of the Victoria and Albert museum.  She has had many exhibitions and often works together with other artists teaming up and complimenting the differences in their work.  She enjoys the painting side of her ceramics the most, she explains and the reflection time to paint, sketching ideas or taking pictures from nature and everything around her, inspirations come from an array of different sources.  She emphasises how exhibitions give her something to work towards, that she particularly likes having a topic.  Then Jo reveals the importance of healing when she informs me how during a meditation session the reflection of the light around the candle became the inspiration around a pot design and confirms something I have always believed that you may learn a skill but creativity can never be measured. 

Interview: Antoinette Haselhorst

Photography artist cake portrait
Photo: Antoinette Haselhorst



Serena Korda

Artist installation art
Photo: Antoinette Haselhorst

The first installation work I viewed by Serena, I was mesmerised by a gigantic puppet show, with a giant monster that resembles a dinosaur moving gently. Slowly I realised that its movements were achieved by puppeteers each moving different parts of the monster; I didn’t notice this at first so enchanted was I by his movements.  The camera pans and a girl appears dancing, wearing ballet shoes, pale pink tights, over a tutu she is wearing a rounded ball of boobs.  She dances with the monster seducing him.  The installation ‘Aping the Beast’ was Serena’s first big solo show at Camden Arts Centre 2013.  Since then she has created shows over a vast array of topics and mediums, some among them The Jug Choir, Black Diamond, Missing Time, Laid To Rest, The Namer of Clouds and There is a Strange Wind Blowing.

Installation Art, Film, Puppet
Aping The Beast, Battle of the river: Serena Korda
Installation Art, film, dance
The Transmittirs: Serena Korda
Artist Installation Art
Photo: Antoinette Haselhorst

Her work is extraordinary, it challenges every aspect of your psyche, it is science, altruism, philosophy, sound, cosmology, multiverse and mythical.  All her ideas stem from a reality and connects with an external idea, then she researches her concepts before implementing her artworks.  Often working on different projects at a time, her projects involve sound engineers, morse code, sound healers, mystics, mathematicians and scientists.  She includes musicians, who might be a local choir whom she records to embody the sound of elves, or members of the public chiming her porcelain mushroom bells. Recording sounds of the universe from homemade radio telescopes and replicating sound resonators inspired by acoustic sound mirrors that were used as pre-radar devices.  Serena created a series of these dishes each weighing a hefty 40 kilograms for Missing Time.  Nothing breaks more boundaries than Serena’s work and yet all of it resonates some form of common sense and thinking, that everything in the universe is interconnected. 

Installation art, Artist
Black Diamond: Serena Korda
Installation Art, Artist
Missing Time: Serena Korda


Artist Installation art
Photo: Antoinette Haselhorst

She tells me about how her devoted mother encouraged her when she realised her drawings at five were well beyond any other child of that age.  She was additionally very academic and as Serena puts it to me, a nerdy swat.  We had just taken a series of portraits in her studio and garden in Hoxton, when we chat over lunch after our shoot.  Speaking rapidly about her work and then more reflective when I ask about her personal life, her Jewish upbringing, the challenging relationship with her Hungarian father who taught her  a strong work ethic and his passing two years ago whilst she was working on Missing Time with the Norman Lipman/Baltic Fellowship at Newcastle University.  She explains how as an electrical engineer he was initially discouraged by her choice of profession, “ He didn’t get my work at first ” Serena states.  Her deep love and respect for him and his accomplishments is very obvious as she sneaks a photo to me of her parent’s wedding.  I notice how Serena’s eyes are the beautiful sharp blue like her mother with a jet of thick dark hair, and her classically sculptured jawline like her father.  

Mushroom Porcelain bells
Hold Fast Stand Sure, I scream a Revolution: Serena Korda
Installation Art, Contemporary Artist
Laid To Rest, The Procession: Serena Korda

Serena attended Middlesex university in Fine art at the age of 19, following her graduation she began teaching and eventually decided to embark on an MA at the Royal College of Art, so she could focus on her own work.  She concentrated on printmaking and expanding her ideas of film and performance art, “ I was never satisfied by just putting things on a wall” Korda explains choosing performance, was about making objects come to life.  One of her earliest works, in Bow, East London in 2004, Old Mens Flesh, is akin to an anthropological study, Korda explains it’s about machismo, chivalry, tattoos, embroidery and relationships with people.  Serena’s ‘Hold Fast, Stand Sure, I Scream a Revolution’, first shown at Glasgow International 2016, is a breathtaking installation on symbiotic relations, her work with mushrooms, fungi and their important role in communicating to different plant species in the forest.  This symbiosis is a recurring theme in her work and in the works that inspire her such as the book The Third Policeman by Flan O’Brien, which she describes as fusing pseudo science and imagination.  Then I think about her ‘Library of Secrets’ or the ‘ The Prognosticator’ as she films in a Hitchcockian style the relations between an owner and her black cat. 

Film, artwork, black cat, cake
The Prognosticator: Serena Korda
Installation Art, Artist, Cake
There is a Strange Wind Blowing: Serena Korda
Installation art, film, dance
The Hosts: Serena Korda

Currently she is working with the Horniman Museum and Gardens in Forest Hill.  The Lore of the Land, is an exhibition co-curated by The Collective featuring Korda’s work ‘ Sensitive Chaos’.  This new work sits alongside objects from the Hornimans anthropological collection challenging our anthropocentric view of the natural world whilst highlighting plant and water consciousness.  This combines sculpture and a soundscape made up of plant signals that have been put through synthesisers.  The coming together of science and art, and how all cultures actually come to the same conclusion, plants are powerful.  Then just before we leave she tells me how she included her fathers voice on  Missing Time.

Interview: Antoinette Haselhorst

Artist Instalation art
Photo: Antoinette Haselhorst,  Hair and Make-up: Aston Davies