Björn Heyn does not describe his studio as a workplace. He calls it a playground. For him, that distinction matters. Being an artist, he explains, means holding on to a particular state of mind that can easily disappear in adulthood. Bills arrive, emails pile up, the mailbox fills with responsibilities that feel far removed from […]
Ranny Macdonald describes painting as a threshold experience, a place where something begins to take over. “I get a sort of rush from it,” he says, “to be on that threshold… it feels like something else is kind of taking over, you know what needs to be done and you’re listening.” In those moments, the
Cathleen Clarke has always been drawn to the spaces where memory begins to thin out. Not the sharp, documentary version of the past, but the gaps that form over time. The voids. The moments that cannot be fully retrieved. She is interested in what happens next, when imagination steps in to fill what is missing.
For Logan Sylve, painting is a steadfast companion. “I feel like painting is my first love and the most reliable companion I have,” he says. In a world of unpredictability and disappointment, creativity stands above it all. Even when the act of making art can feel frustrating, the rewards are deeply sustaining, offering a sense
Mario Picardo approaches painting as a space of personal freedom. The studio is not a site of pressure or anxiety for him, but a place of pleasure and ease. Each day he arrives to work, he describes the act of painting as happiness itself. It is not something he worries about or negotiates with. It
Originally from New Orleans, Louisiana, Hill Spriggins has been living and working in Brooklyn, New York for the past seven years. She identifies herself simply and decisively as a painter. While people often ask whether she draws, photographs, or works in other mediums, her answer is consistent. Painting is her focus, the only practice she
In the studio, drawing and painting are the moments when Henry Ward feels most fully himself, even as he admits that the act of making art can feel heavy and unavoidable. He describes it as a compulsion that remains inseparable from how he understands himself and the world. If he could choose not to make
The Limits of the Exhibition Exhibitions are the cornerstone of contemporary art, serving as the primary way audiences encounter work. They offer a carefully curated encounter, a visual and spatial narrative that situates objects within a gallery context. But exhibitions, by their very nature, are inherently incomplete. They privilege finished outcomes over the processes that
There has never been anything Eleanor Arbor enjoys more than making. It is not about prestige or outcome, but about the act itself. She describes art not as a special talent set apart from the rest of life, but as a way certain people are wired. In her words, if you are truly an artist
For Ruben Tönnis, art is not just a practice but a way of structuring life itself. Living and working in Berlin, painting gives him a sense of purpose and aliveness. A day spent making art, he says, is always better than one without it. What began as a hobby eventually became the center of his
