Woman Seated (Self-Portrait) by Jessica Dismorr | Bonhams
BY ALBERT CHEN
Jessica Dismorr (1885-1939), a pioneering figure in British modern art, has achieved a new auction world record at Bonhams recent Blazing a Trail: Modern British Women auction in London. The sale, which ran online from September 9 to 18, showcased the largest known private collection of works by Dismorr, with the centerpiece, Woman Seated (Self-Portrait), selling for £57,600 (approximately $73,000). The final price far surpassed its pre-sale estimate of £4,000–6,000 (approximately $5,000–$7,600), cementing Dismorr’s position as a significant figure in 20th-century art.
The works came from the Quentin Stevenson Collection, which spanned over two decades of Dismorr’s career and featured 19 pieces. The auction overall achieved a total of £924,660 (approximately $1,170,500), with 82% of lots sold. Notably, more than half of the works sold for amounts at or above their upper estimates, underscoring the strong demand for pieces by British female artists.
Ingram Reid, Head of Bonhams Modern British Art Sale, highlighted the success of the auction. “Over the past four years, our Blazing a Trail series has represented nearly 100 women artists, celebrating their incredible contributions to British art. This year’s sale exceeded expectations, with Jessica Dismorr’s Woman Seated (Self-Portrait) leading the way. Other artists, including Winifred Nicholson, Sophie Ryder, and Emily Young, also performed exceptionally well, reinforcing our position as the leading auction house in this category.”
The auction also featured other notable sales from artists such as Winifred Nicholson, whose Christmas Present fetched £55,200 (approximately $70,000), and Emily Young, whose sculpture Fertility Torso with Head sold for £48,000 (approximately $60,800). Sophie Ryder’s Dancing Hares achieved £40,800 (approximately $51,600), while Sheila Fell’s Village in Cumberland garnered £24,000 (approximately $30,400).
Woman Seated (Self-Portrait) by Jessica Dismorr | Bonhams
Jessica Dismorr (1885–1939) was a trailblazer in modern art, as one of only two women to join the Vorticist movement and the sole female member of Group X. Her work bridged movements, with exhibitions spanning the Allied Artists Association, the Seven and Five Society, and the London Group. This historic auction not only elevated her legacy but also reaffirmed the growing recognition of modern British women artists.
The surrealist art market is currently experiencing a notable period of growth, evidenced by strong auction results and heightened collector interest. Recent sales in New York, Paris, and London reflect a robust appetite for works from this historically significant movement. René Magritte’s L’empire des Lumières (1954) led the market in 2024, achieving $121.16 million at Christie’s New York—the highest price ever paid for a surrealist artwork. This sale underscores a broader trend of sustained demand for surrealist pieces, both from marquee names and historically underrepresented artists.
Across major sales, 85% of surrealist lots were sold, with a remarkable 95% success rate by value, signaling consistent interest and competition among collectors. Auction houses such as Christie’s, Sotheby’s, and Bonhams have reported strong performances, with many works exceeding their high estimates. These outcomes suggest a strategic pivot within the art market, as buyers increasingly view surrealism as both a culturally significant and financially rewarding segment.
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Key Auction Highlights
The sale of Magritte’s L’empire des Lumières was emblematic of the market’s strength. Renowned for its interplay between daylight and night, the painting attracted intense bidding, ultimately selling for $121.16 million and setting a new benchmark for the genre. This achievement was part of Christie’s sale of the Mica Ertegun collection, which realized consistently high results, including Magritte’s La cour d’amour at $10.53 million and La Mémoire at $3.68 million.
Sotheby’s Modern Evening Sale in New York reinforced this trend, achieving $11.3 million for Leonora Carrington’s La Grande Dame (1951)—a record for her sculptural work. This follows Carrington’s earlier 2024 milestone, with Les Distractions de Dagobert selling for $28.5 million in May. These results highlight increasing recognition of Carrington’s influence within surrealism and reflect a broader focus on women artists in the genre.
In Paris, Sotheby’s and Bonhams staged successful surrealist-themed auctions, with high sell-through rates and strong performances across a variety of artists. At Sotheby’s, Salvador Dalí’s Rose méditative (1958) realized €3.9 million, far exceeding its €1 million high estimate. Similarly, Jane Graverol’s La Frôleuse (1969) achieved €576,000, nearly doubling its estimate. Such results underscore a growing demand for both established and rediscovered names within surrealism.
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Drivers of Market Growth
The current strength of the surrealist art market can be attributed to several key factors shaping its trajectory. First, the centennial celebrations marking 100 years since surrealism’s inception have significantly amplified its visibility. Exhibitions such as the Centre Pompidou’s Surréalisme have not only drawn attention to major works but also reinvigorated interest in lesser-known artists, creating a ripple effect across the market. The increased scholarly and institutional focus has elevated the genre’s profile among both seasoned collectors and new entrants.
Additionally, the themes central to surrealism—ambiguity, duality, and dreamlike escapism—have found renewed resonance in contemporary culture. These concepts, as epitomized by works like Magritte’s L’empire des Lumières, reflect the tensions and uncertainties of modern life while offering an imaginative refuge. This cultural alignment enhances the appeal of surrealist art, making it both timeless and increasingly relevant to today’s audiences.
Efforts to promote inclusivity within the art world have also played a crucial role in the genre’s growth. A surge of interest in underrepresented figures, particularly women surrealists, has broadened the movement’s appeal and market dynamics. The record-breaking sales of works by Leonora Carrington and strong results for artists like Kay Sage and Jane Graverol exemplify this shift.
The inclusion of diverse narratives within surrealism has not only enriched its historical narrative but also driven competitive bidding and elevated prices for works previously overlooked by the mainstream market. This confluence of institutional focus, cultural relevance, and expanded representation has positioned surrealism as a vibrant and dynamic segment of the art market, attracting both collectors seeking prestige pieces and investors looking for value appreciation.
The sustained interest in surrealism represents a strategic opportunity for collectors. Auction results indicate that the market rewards both established masterpieces and emerging or rediscovered works, providing a range of entry points. High sell-through rates and frequent record-breaking sales suggest that surrealist art is not only culturally significant but also a stable and appreciating asset class.
As centennial celebrations conclude, the art market is likely to maintain its focus on surrealism, supported by its historical importance and enduring relevance. Collectors and investors would be well-advised to monitor the genre closely, as it continues to assert itself as a cornerstone of the modern and contemporary art markets.
La Zingara Felice (The Happy Gypsy) by Anna Teresa Laurita
By Jennifer McKay
Anna Teresa Laurita is an emerging figure in contemporary neo-expressionism, bringing a distinct perspective to a genre historically dominated by male artists, such as the legendary Jean-Michel Basquiat. Laurita’s art is marked by the use of vivid, contrasting colors and an approach that emphasizes emotional depth and personal experience. This focus allows her work to balance the expressive freedom characteristic of neo-expressionism with a unique infusion of femininity and introspection.
Laurita describes her creative process as one that starts with an oniric, almost dream-like quality, evolving into a more structured interplay of line and color. Her technique, while appearing simplistic at first glance, gradually reveals layers of complexity as she builds each composition. The result is work that feels both deliberate and spontaneous, illustrating a seamless transition from raw emotion to cohesive artistic expression.
The use of bright, contrasting colors is central to Laurita’s practice. These choices contribute to artworks that are visually engaging and convey a sense of energy. However, her compositions are not just about the impact of color; they are carefully constructed to evoke deeper reflection. The balance between bold modernity and thematic subtlety allows her pieces to appeal to contemporary audiences who seek art that engages both visually and intellectually.
Laurita herself notes that she often discovers new dimensions within her work once it is completed. This element of surprise becomes an integral part of her process, suggesting that the final piece evolves beyond its initial conception. For the viewer, this evolution translates into an artwork that invites interpretation, stimulating thought and imagination.
La Zingara Felice (The Happy Gypsy) by Anna Teresa Laurita
While her pieces are dynamic, they remain grounded in a form that conveys narrative. Each artwork exists as a standalone story, rich with potential meaning and open to individual interpretation. Laurita’s aim is not just to present her own perspective but to encourage viewers to engage with the work on their terms, making each piece an interactive experience in thought and emotion.
Anna Teresa Laurita’s contribution to neo-expressionism offers a perspective that merges personal reflection with broader artistic dialogue. Her works aspire to serve as a space for contemplation and emotional resonance, adding a nuanced voice to the contemporary art scene.
“I recently had a photoshoot of two famous actors in their hotel room, promoting a movie that recently came out. I was supposed to have 30 minutes with them, but they were incredibly rude to my photo assistant and me and ended up leaving after just 3 minutes. I had only managed to get a handful of photos and ended up crying in the hotel bathroom while my assistant helped pack up.”
In Part 2 of our exclusive interview with New York photographer Evelyn Freja, we delve deeper into her journey, exploring the experiences and philosophies that shape her artistic vision. Evelyn opens up about the challenges of working in a highly competitive industry, her approach to capturing genuine moments, and the surprising lessons she’s learned along the way.
From memorable photoshoots with high-profile clients to candid insights on navigating rejection, Evelyn shares what it takes to thrive as a full-time artist in one of the world’s most vibrant cities. Her passion, resilience, and authenticity shine through as she reflects on the creative process and the beauty of connecting with her subjects.
How do you continue to grow and develop as a photographer, even after achieving success?
I am surrounded by photographer friends who constantly lift me up and inspire me. I’m also really lucky because my partner of eleven years is a photographer (we met in photo school), and he is a constant source of inspiration and motivation both inside and outside of photography.
Of all the photos you’ve taken, which one is your favorite?
My favorite photographs come not so much from the final product as from the experience. I’ve had shoots where the final photographs weren’t the best, but the time spent with the subject was incredibly joyful. Those experiences translate through to the final photograph.
Can you describe a particularly memorable or challenging shoot and how you handled it?
I recently had a photoshoot of two famous actors in their hotel room, promoting a movie that recently came out. I was supposed to have 30 minutes with them, but they were incredibly rude to my photo assistant and me and ended up leaving after just 3 minutes. I had only managed to get a handful of photos and ended up crying in the hotel bathroom while my assistant helped pack up. It was disheartening, but at the same time, it was a valuable learning experience—not to take things personally or internalize unspoken criticism. At the end of the day, I am so grateful to be able to take photos for a living in New York City.
It takes less than a second to capture a photo, but how much time and effort go into preparing for the perfect shot?
I’ve spent weeks, sometimes months, leading up to shoots, meticulously planning every detail: from lighting to colors to mood to poses. I can obsess over the smallest details, but I’ve also learned that no matter how much planning goes into photoshoots, something will probably almost always go wrong. Photography is as much about planning the shot as it is about staying flexible with any issues that may arise.
What is your philosophy when it comes to capturing the essence of a moment or a subject?
It’s important that I never put too much of myself in my photos. I want the essence of the subject to shine through as the main focal point, but I also understand that having your photo taken isn’t always enjoyable. It’s all about making the subject feel comfortable and at ease while still letting them be the focus.
Is it expensive to pursue photography, and how long did it take you to achieve financial success in this field? What lessons did you learn along the way?
It’s easy to get overly focused on having brand-new equipment, fancy lenses, and expensive lights, but the reality is that photographers don’t need all that. I’ve taken some of my favorite photos on a cheap, beat-up second-hand camera. Photography can be an expensive industry, but when you’re starting out, it’s good to remember that you don’t need high-end equipment to create beautiful art.
Was it difficult to become a full-time photographer, and what risks, challenges, or setbacks have you faced in your career?
The hardest part of being a full-time artist is getting used to rejection and being ignored. It’s natural to want to throw in the towel and quit when you’ve reached out to forty or fifty art directors and editors and only two of them get back to you, but it’s a necessary part of the process. Just keep going, and tune out any negative internal dialogue.
Anastasia Egonyan is a contemporary photographer and artist from Ukraine with Armenian roots, currently based in Berlin. She actively participates in exhibitions across Germany, the Netherlands, the United Kingdom, and Switzerland. Her photographic language embodies the coexistence of two seemingly opposite approaches that, paradoxically, enhance each other.
As a photographer, Egonyan is drawn to two visual extremes: depersonalized, human-free views of large capitalist metropolises, and nude figures frozen in poignant, semiotically rich poses. The interplay between these contrasting visual strategies within a single artistic context beautifully illustrates the originality and professionalism of her creative vision.
Egonyan’s urban landscapes are infused with artificial life: streetlights and indoor lighting shine, neon signs glow, and public spaces and technical facilities function as intended. Yet, these spaces are devoid of human presence. The people who built these technological environments have seemingly vanished, leaving traces of their existence in posters and large formats. Where have they gone?
According to Egonyan’s aesthetic, they may have hidden away, fled forever, entered a parallel world, or become meta-observers. It does not matter whether the city is Paris, Berlin, or elsewhere; Egonyan finds a common thread among them: the dissonance between the scale of the city and its parts relative to the average human body. In the absence of human figures, these cities feel abandoned and desolate.
This subtle yet ironic recognition of fundamental human values in Egonyan’s work reflects our tendency to view the absence of people in familiar spaces as a tragedy, revealing our deep-rooted anthropocentrism. Here, Egonyan critiques not only this anthropocentrism but also the viewers’ unexamined assumptions about humanity’s place in urban landscapes.
Egonyan’s photographs of human figures stand in stark contrast to her cityscapes. Whereas her urban images depict an alien, somewhat theatrical setting, her work with nudes presents a scene of vulnerability within a carefully crafted, intimate environment.
Her artistic approach is ethical, aimed at avoiding the objectification of the body while retaining a fundamentally personal relationship with her models and a narrative integrity in the final image. In line with Egonyan’s intentions, these photographs avoid any false pathos or artificiality; they are created in natural, intimate spaces—often the photographer’s home or other organic interiors.
Egonyan’s approach combines deliberate composition with improvisation, emphasizing the dynamics and unpredictability of the process. The ultimate aim of her work is to challenge societal perceptions of objectified bodies, inviting viewers to engage with the personhood behind each figure.
On the global film stage, female directors’ voices are gaining prominence, yet few focus on the stories of Asian women. Yihui Hu stands out as an exceptional representative of this minority. As a Chinese-American director, Hu revisits themes of female identity and cultural recognition through a nuanced lens, exploring the intricate layers of cross-cultural emotions and psychology within the art of cinema. Rather than presenting Asian narratives from a traditional “other” perspective, her work redefines the experiences of Asian women within a globalized context, using subtle emotional depth and rich cultural insight.
Hu’s films express her personal life experiences while reflecting the broader experiences of Asian women. Transitioning from painting to film, she gradually discovered that film is not merely a storytelling tool but a medium capable of breaking cultural, gender, and societal stereotypes. Through her work, Hu strives to amplify overlooked voices, offering a resonant space for individuals grappling with self-identity in multicultural contexts. Her creations delve not only into artistic form but also into the cultural identity and self-perception of Asian women in society. Her films reveal a deep contemplation of the emotional, cultural, and identity-related challenges Asian women face, making her work a distinctive contribution to the global cinematic landscape.
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Hu’s passion for film began in childhood. Early on, she found a form of self-expression in painting, using brush and color to convey her imagination and emotions. However, after joining her school’s film club, she discovered that film—an art form that transcends boundaries of sight, sound, and time—allowed her to more comprehensively convey her stories and articulate the emotional and cultural issues that moved her. This marked a turning point, leading her from the two-dimensional canvas to the multidimensional storytelling possibilities of cinema.
During her college years, Hu moved to the U.S. to study Film and Television Production at the Savannah College of Art and Design (SCAD). This period exposed her to new cultures and artistic forms, allowing her to discover her artistic voice amid a blend of diverse influences. At SCAD, she participated in various creative projects, including short films and documentaries, each experience furthering her understanding of cinematic storytelling and her place within it.
Several of her early short films, such as The Monster, The Bus, and Falling for You, highlight her focus on personal experiences and cultural identity. While these films were experimental in her early career, they reflect themes that would become central to her later works: the inner world of Asian women, the search for identity, and the interplay of cultural conflict and fusion. These early films garnered recognition within the industry, reinforcing her understanding that cinema can be a powerful tool for exploring social issues beyond personal expression.
Hu’s graduation project, Beach House, marked a significant turning point in her filmmaking career. The film tells the story of a woman who inherits a seaside villa previously unknown to her and encounters a young girl there who bears a striking resemblance to her. Although the story appears simple, it is layered with metaphors and symbols about identity, memory, and self-discovery. The young girl symbolizes another facet of the protagonist, embodying both her past and her uncertainties about the future.
Yihui Hu, behind the scenes
Beach House is not only rich in narrative symbolism but also explores the psychological dilemmas faced by Asian women navigating different cultural contexts. Through layered visual and storytelling elements, the film addresses themes of identity with depth and subtlety. Beach House was selected and awarded at multiple international film festivals, including the Toronto Women’s International Film Festival, the Venice Film Festival Short Film Unit, and the New York Lift-Off Film Festival. Its global resonance stems not only from its depiction of an individual’s journey of self-discovery but also from its reflection on broader issues of cultural and gender identity through a personal lens.
During the creation of Beach House, Hu initially worried that the film’s personal focus might limit its relatability. Yet it was precisely this authentic expression that allowed her work to transcend cultural and geographic boundaries, creating a powerful emotional connection with diverse audiences. Through this project, Hu discovered her unique cinematic voice—a style that is both visually compelling and layered with emotional and cultural intricacies.
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As her creative experience expanded, Yihui Hu developed a distinctive voice in cinematic storytelling, focusing on the narratives of Asian women and examining the complexities of identity and cultural divergence through these stories. In her graduate studies, she continued exploring these themes in works like The Safe, Secret Garden, and He, which probe the psychological states of Asian women in multicultural environments and reflect cross-cultural emotions.
Her latest films delve into the emotional and cultural entanglements between an Asian-American girl and a Chinese boy, using their relationship to explore identity struggles and confusion. Through meticulously crafted visuals and dialogue, Hu conveys the tension between cultural conflict and inner emotion, creating a story that serves not only as a personal journey for the characters but also as a broader symbol of self-awareness and cultural identity reconstruction within the Asian context.
Secret Garden, a film by Yihui Hu
Yihui Hu is committed to breaking down cultural and gender barriers through film, bringing diverse stories to the forefront. While Asian culture has gained increasing visibility on the global film stage in recent years, Hu recognizes that significant cultural disparities persist, particularly in the underrepresentation of Asian women on screen. She hopes her work will bridge these cultural divides, allowing audiences to connect with the complex experiences of Asian women across different cultural contexts. As she states: “My goal is to let more people hear our voices, see our stories. Film is a powerful tool; it can not only entertain but also change the way people think.”
Looking ahead, Yihui Hu will continue to explore themes of Asian culture and female identity, advocating for greater diversity in the film industry. She aims to be a force for change, using film to elevate marginalized voices and offering viewers from varied cultural backgrounds the chance to see their own reflections on the big screen.
Joanna Li, a Taiwanese artist born in Taipei in 1997, is captivating the art world with her ability to seamlessly blend natural and urban elements into emotionally powerful narratives. Now based in London, where she moved seven years ago, Joanna graduated from the prestigious University of the Arts London. Her artistic journey spans from photography to watercolor painting, continuously pushing boundaries and breaking new ground.
Reflecting on her time in London, Joanna recalls her early days, describing how the unfamiliarity of a new city left her feeling lost and disconnected. “When I first arrived in London, I was overwhelmed by a sense of loneliness on my first day at school. But knowing my parents fully supported my dream kept me going,” she said. Her determination, fueled by a deep love for art, carried her through, leading her to develop her own distinctive style. Guided by the inspiration of her teachers and the cultural richness of the city, she began to channel her innermost emotions through her creations.
Joanna Li, Time Made, Collage, 2020
Inspiration and Cultural Influence
Joanna’s creative process is deeply rooted in the everyday moments that surround her. Whether it’s the bustling streets of London or the quiet details of life, she finds inspiration everywhere. Her work transcends mere visual beauty, as each piece resonates on an emotional level, offering more than just an aesthetic experience. “I have always believed that art is a form of communication that transcends cultures and languages,” Joanna reflects. This belief has become the foundation of her work, which strives to connect with viewers on a deeper, more emotional plane.
Joanna Li, Winter, Illustration, 2021
The Emotional Blend in Photography
In her photography, Joanna Li has mastered the use of contrast and composition as key tools for emotional storytelling. “Contrast and composition speak their own language,” she explains. “They reveal the story and atmosphere behind each photo.” Her work goes beyond the surface, drawing viewers into a world of feeling, where colors and textures communicate the underlying emotions of each scene.
One of her standout pieces, ‘The Present Moment’, exemplifies this. Displayed at The Holy Art Gallery in London, the photograph employs unique exposure and double-layered effects, creating a dreamlike quality that invites the viewer to explore layers of time, memory, and emotion.
Joanna Li, The Present Moment, Photography, 2021
Watercolor Paintings: Color as a Language
Beyond photography, Joanna’s emotional expression extends into painting. In her watercolor work ‘Crescendo’, she uses architecture as her central subject, capturing the essence of public spaces with fluid lines and vibrant colors. Her ability to convey both emotional and visual complexity speaks to her mastery of form and color, which she uses to create not only aesthetically pleasing pieces but also deeply emotional experiences. Each brushstroke is infused with meaning, inviting viewers to feel as much as they see.
Joanna Li, Crescendo, Watercolor, 2021
International Recognition and Future Endeavors
Joanna’s art has garnered attention on a global scale. She has participated in group exhibitions across Brazil, London, and the United States, winning multiple art awards along the way. Her work has been celebrated in media outlets around the world, and she remains committed to her artistic evolution. “Art is a road with no end. I hope to find my own artistic language through continuous exploration and experimentation,” she said, emphasizing her dedication to innovation.
Joanna Li, Crescendo, Watercolor, 2021
Looking ahead, Joanna has ambitious plans for the future. Her new series, ‘Nature and People’, explores the intricate relationship between humans and the natural world, a theme that resonates deeply with her. She hopes this body of work will inspire greater appreciation for nature and its connection to humanity.
Additionally, Joanna is planning a global touring exhibition in the coming years, allowing her to reach new audiences and continue to share her vision. Through her work, she aims to spread positive energy, connecting with viewers across cultural and linguistic barriers.
Joanna Li, Somewhere in Time, Photography, 2022
Joanna Li’s artistic journey is a testament to resilience, creativity, and a deep understanding of emotion. Whether through the lens of a camera or the strokes of a brush, her work speaks directly to the soul, leaving a lasting impression on those who encounter it.
At Bonhams Cornette de Saint Cyr’s Modern & Contemporary African and Middle Eastern Art sale in Paris on September 26, 2024, a striking abstract work by renowned Turkish artist Fahr El-Nissa Zeid sold for €152,800—more than three times its original estimate. The 1961 piece, Lever De Soleil, Ischia, was expected to fetch between €50,000 and €80,000 but surpassed expectations at an auction that totaled €488,000 across 74 lots.
Zeid, one of the first women to attend the Fine Arts Academy in Istanbul, later continued her studies in Paris under Roger Bissière at the Académie Ranson. Over her long career, she held numerous solo exhibitions in major cities such as London, Paris, New York, and throughout the Middle East. After the death of her husband, Prince Zeid bin Hussein of Iraq’s Hashemite royal family, she settled in Amman, where she continued to create groundbreaking work.
Fahr El-Nissa Zeid (Turkey, 1900-1991) Lever De Soleil, 1961 sold for €152,800
The auction notably spotlighted women artists from the Middle East and North Africa (MENA) region, with Noor Soussi, Head of the Modern & Contemporary Middle Eastern Art department, emphasizing the importance of representation. “Women artists from MENA and Africa have been historically underrepresented in the art market, so we were pleased to feature works by notable figures such as Fahr El-Nissa Zeid, Zeinab Abd El Hamid, and Rabab Nemr,” Soussi said.
Julie Mathon, Junior Specialist in Modern and Contemporary African Art at Bonhams, also praised the collaboration with the Menart international art fair in Paris, which celebrated the contributions of female artists from the region. Mathon noted the strong results for works by artists like Ouattara Watts and Abdoulaye Diarrassouba Aboudia.
Ouattara Watts (Ivory Coast, born 1957), Pythagor and Thot, acrylic pigment on canvas and on panel, with collage of wooden boat. Sold for €66,440.
Other notable sales at the event included Ouattara Watts’ acrylic pigment and collage work Pythagor and Thot, which sold for €66,440. Louay Kayyali’s oil painting Portrait of a Man fetched €28,160, while Abdoulaye Diarrassouba Aboudia’s untitled mixed media canvas achieved €25,600. Farhad Moshiri’s Control Room, an embroidery on black velvet, was sold for €23,040. Additionally, Rabab Nemr’s 1987 untitled oil on panel garnered €19,200, and Zeinab Abd El Hamid’s 1998 mixed media piece Cityscape reached €12,160.
This sale not only highlighted the strength of the market for works by women artists from the MENA region but also underscored growing interest in both modern and contemporary African and Middle Eastern art.
In this third installment of our exclusive interview series with New Orleans ceramicist Aurora Daigle, we explore the intimate rituals and routines that fuel her creative process. From setting mindful intentions to connecting with nature, Aurora’s practice is a harmonious blend of spirituality, artistry, and personal growth.
She invites us into her world, where creating ceramics becomes a meditative and transformative experience. As she shares her passion for therapeutic clay sessions and sustainable practices, we gain insight into her evolving work and exciting future projects that promise to leave a lasting impact.
Do you have any specific rituals or routines that you follow during the creative process?
During my creative process, I have developed several rituals and routines that help me stay focused, inspired, and connected to my work:
Setting Intentions: Before I begin working, I take a moment to set an intention for my session. This could be a goal for the piece I’m working on or a broader intention related to my artistic growth and expression.
Creating Sacred Space: I believe in the importance of creating a physical and mental space conducive to creativity. This might involve lighting a candle, playing soft music, or simply taking a few deep breaths to center myself.
Connecting with Nature: Nature is a profound source of inspiration for me. I often start my creative sessions with a walk outdoors or by bringing natural elements into my workspace. This helps ground me and sparks ideas.
Mindful Preparation: Before I touch clay or engage in any artistic activity, I prepare my materials mindfully. This includes organizing my tools, sponging down my work table, and ensuring I have everything I need within reach to minimize distractions.
Embracing Fluidity: While I may have a rough idea of what I want to create, I also embrace spontaneity and allow the clay to guide me. This flexibility in approach often leads to unexpected and rewarding artistic discoveries.
Reflection and Integration: At the end of each creative session, I take time to reflect on my progress and experiences. I journal about any insights or challenges encountered, which helps me integrate my artistic process into my personal growth journey.
These rituals and routines not only enhance my creative flow but also deepen my connection to the transformative power of art. They are integral to my practice as an artist and contribute to the meaning I find in creating ceramics and engaging in therapeutic art sessions.
What future projects or collaborations are you excited about, and how do you see your work evolving in the coming years?
I’m excited about several future projects and collaborations that are on the horizon:
Exploring Wild Clay: I am eager to delve deeper into working with the wild clay. This exploration involves learning to process and utilize the material, which aligns perfectly with my commitment to using natural and found materials in my ceramics. As well as exploring different firing techniques, particularly wood firing.
Therapeutic Clay Sessions: As an art therapist and ceramic artist, I am passionate about integrating therapeutic clay sessions or “clay ceremonies” into my practice. These sessions provide a supportive environment for individuals to experience healing and connection through art. I envision expanding these sessions to reach more diverse communities and exploring how clay can be a medium for personal growth and community building.
Collaborative Projects: I look forward to collaborating with other artists, therapists, and community organizers who share a passion for using art as a tool for healing and social change. Whether through joint exhibitions, workshops, or community-based art initiatives, I see collaboration as a powerful way to amplify the impact of our creative endeavors.
Travel and Cultural Exploration: I am excited about opportunities to travel to new places and immerse myself in different cultural landscapes. I believe exposure to diverse perspectives and artistic traditions will enrich my own artistic practice and broaden my understanding of the world.
Looking ahead, I see my work evolving in several ways:
Deeper Integration of Art and Therapy: I aim to further integrate my skills as an art therapist with my ceramic practice, creating more intentional and impactful therapeutic art experiences for individuals and groups.
Sustainability and Ethical Practices: I am committed to exploring sustainable practices in ceramics, including sourcing materials responsibly and minimizing environmental impact. This commitment extends to fostering ethical collaborations and supporting communities through my work.
Exploration of Narrative and Mythology: I am interested in exploring themes of narrative and mythology in my ceramic work, particularly narratives that celebrate resilience, cultural heritage, and the natural world. I hope to create pieces that tell stories and evoke emotional connections with viewers. I will be working on my larger body of work and plan to have a solo exhibition in December.
Overall, I see my work evolving into a deeper exploration of art’s role in healing, community building, and environmental stewardship. I am excited about the possibilities ahead and look forward to continuing to grow as an artist and advocate for the transformative power of creativity.
New York-based photographer Evelyn Freja has captivated audiences with her emotive and intimate approach to capturing the world through her lens. From her early days exploring photography on her family’s rural farm to the moments of creative awakening in far-flung places like New Zealand, Evelyn has carved out a unique path in the world of visual storytelling. In this exclusive interview, she opens up about her artistic journey, the personal experiences that have shaped her, and the creative process behind her evocative imagery.
Can you tell our readers about your childhood, family, and the environment you grew up in? Were you drawn to art as a child?
I was born to a British mother and a father in the US Air Force, spending my childhood between growing up on my rural family farm and summers spent visiting my grandparents in a remote village in England. Much of my early years were spent in solitude and art was something I discovered naturally as a way to occupy myself. I was lucky because my parents always encouraged me to spend time in art and nature.
I spent a year living in a small town in New Zealand when I was in my last year of high school. Teenage years are such a tender part of life, when you are just on the cusp of adulthood and figuring out who you are and what you want to say to the world. I was 17 years old, in a foreign land and immersed in a different culture. It was the first time in my life where all I wanted to do was take photos.
What was the first photograph you took that made you realize photography was your passion?
During high school, I began taking self portraits, sometimes around my family farm, and sometimes upstairs in my bedroom, like this one, with my cat Henry. During this time, there was a shift in interest, from creating self portraits for myself, to creating art for myself.
Do you consider yourself an artist, and what role does creativity play in your photography?
It took me a long time to consider myself an artist but now it is a very large part of my identity. When I first started photographing, I was embarrassed to be seen trying to make things out of nothing. Now, I simply don’t care as much as I did when I was younger. I focus on making art for myself. Creativity is everything to me. Inspiration can strike from listening to a certain album or making a cup of coffee, creativity is all around us.
How long did it take you to master the camera, and was it a challenging process?
Taking photos is equal parts analytical and creative. There is the mathematics of exposing a photo right and balancing the aperture and shutter speed with the components of the subject matter and frame. At times, it is very difficult and there are shoots I have to this day where I need to force myself to slow down and stop. To think and be deliberate.
What cameras and equipment do you use in your work?
I’ve switched from Sony, to Canon, to Fuji, to Nikon which is what I currently use. I’m happiest with Nikon, but who knows, that could change.
What role does post-processing play in your work, and how do you approach editing your photos?
Colors and tones are very important to me. I try to be deliberate with both before, during, and after photographing.
How do you come up with innovative photography ideas?
Ideas come to me by way of books, music, tv shows– everything outside of photography, for me, ends up relating back to photography and inspiring me in one way or another.
What is your favorite subject to photograph, and why?
There is so much joy in photographing people. It is a privilege to be able to photograph someone from different walks of life, perhaps working in a different industry, where I am able to drop in and learn something new and connect with someone different from me.
