Abstract State

New York

Out Now!

Introducing ISSUE 1 of Abstract State
Available now for purchase in both print and digital PDF formats.
Secure your copy today!

artists publication

Stories through art

contemporary art magazine

Abstract State© 2023 - All rights served


Abstract State Magazine is a beacon of artistic collaboration based in the vibrant heart of New York City. At Abstract State, we believe in the transformative power of art to inspire, connect, and elevate the human experience.Within the pages of our magazine, you'll discover a curated tapestry of creativity woven by the hands of artists from around the world. Through stunning visuals, thought-provoking essays, and intimate interviews, we strive to illuminate the souls of creators and celebrate the diverse voices that shape our collective imagination.Our commitment to collaboration extends beyond the printed page. We actively engage with artists, curators, and enthusiasts to foster meaningful dialogue and forge lasting connections within the global art community. Through our ongoing series of interviews, we delve into the minds and processes of artists, uncovering the stories behind their work and inviting readers to journey deeper into the creative process.Abstract State Magazine is more than just a publication; it's a sanctuary where art finds its voice and where the boundaries of creativity are continuously challenged and redefined.Join us as we embark on this exhilarating exploration of the abstract state of the human spirit.Welcome to Abstract State Magazine—where the world of art comes alive.

Abstract State© 2023 - All rights served

How to Apply?

Send us an email!For submissions, kindly send an email to info@abstractstate.us
Introduce yourself and your artistic path.
Please include a brief bio/statement, ensuring each is under 300 words.
For the best representation,
Artists must ensure their images are of high quality,
With a recommended resolution of at least 300 dpi in jpeg format.
Artists may submit up to three artworks, granting them the opportunity to showcase their creativity in multiple forms. Lastly,
don't forget to add your website/social media information to us we would like to check it out!

Abstract State© 2023 - All rights served





Abstract State© 2023 - All rights served

Interview with

Omur Ozkoyuncu


Photo by Olga Gorodilina

Omur is a professional photographer based in the United Kingdom, with a global reach in providing editorial and editorial-style photography services to diverse media industries.Her work encompasses features, portraits, case studies, and documentary-style work. With academic credentials including a Master of Science (MSc) in Physician Associate Studies, as well as earlier degrees such as a Bachelor of Arts (BA) and a Master of Arts (MA).She brings a wealth of knowledge and a commitment to continuous learning to both healthcare and multimedia endeavors.

As a photographer, I am driven by a profound desire to capture the essence of the world, unveiling its hidden beauty and narratives. Photography serves as my universal language, transcending barriers and forging deep connections with people. I find endless fascination in the interplay of light, shadow, color and contrast, constantly seeking moments that evoke raw emotions and provoke contemplation.My visual narratives transport viewers into evocative scenes, inviting them to partake in shared emotions, experiences, and stories suspended in time. I embrace the technical and creative dimensions of photography, translating my artistic vision into tangible realities. Each of my works extends an invitation to explore and cherish the world anew. Through my lens, I hope not only to offer captivating images but also to evoke emotions, narrate stories, and enable viewers to find themselves within the frame. Thank you for embarking on this visual journey with me, celebrating the inherent beauty that envelops us.Light, shadow, color, and contrast are highlighted as elements you're fascinated by in your work. Can you discuss how you use these elements to evoke emotions and provoke thoughts in your photographs?

You mention that photography is your language, transcending boundaries and connecting deeply with people. How do you ensure your photographs effectively communicate your message and connect with viewers on a profound level?

For me, effective communication begins with a clear understanding of the emotions and stories I want to convey through my photographs. Before I even pick up my camera, I spend time reflecting on the themes and messages I want to explore. Once I'm in the field, I approach each scene with intentionality, carefully considering composition, lighting, and perspective to ensure that every element of the image contributes to the overall narrative.By infusing my photographs with authenticity and emotion,I aim to create images that resonate with viewers on a personal level, sparking a sense of connection and empathy.

Light, shadow, color, and contrast are highlighted as elements you're fascinated by in your work. Can you discuss how you use these elements to evoke emotions and provoke thoughts in your photographs?

Light, shadow, color, and contrast are powerful tools for evoking mood and atmosphere in photography. I often seek out scenes where these elements are particularly dramatic or dynamic, as they can add depth and visual interest to an image.

For example, I might wait for the golden hour to capture the warm, soft light of sunset casting long shadows across a landscape, or I might use bold color and high contrast to create a sense of drama and intensity. By carefully manipulating these elements, I'm able to imbue my photographs with a sense of emotion and intrigue, inviting viewers to linger and explore the hidden stories within each frame.

Your work spans various genres, including features, portraits, case studies, and documentary-style photography. How do you adapt your approach when working across these different genres?

My approach varies depending on the genre, but the core principles of storytelling and emotional connection remain constant. For features and portraits, I focus on capturing the personality and essence of the subject, often engaging in conversation to put them at ease and reveal their true selves. In case studies and documentary-style work, I immerse myself in the environment and observe closely, allowing the natural flow of events to guide my photography. Each genre requires a unique balance of preparation and spontaneity, ensuring that I can convey the authentic story of the subject or scene.

Given your extensive background in both healthcare and multimedia, how do these fields influence each other in your work?

My background in healthcare has profoundly influenced my photographic practice by heightening my sensitivity to human experiences and stories. The empathy and observational skills developed in healthcare enable me to connect more deeply with my subjects, especially in documentary and portrait work. Conversely, my work in multimedia enriches my approach to healthcare, fostering creativity and innovative thinking in patient care and education. The interplay between these fields allows me to bring a unique perspective to each, enhancing my ability to communicate complex narratives effectively.

Can you share a specific project or photograph that had a significant impact on you and why?

One project that stands out is a documentary series I worked on about the lives of refugees in Europe. This project was emotionally challenging yet incredibly rewarding. I spent time with families, listening to their stories of hardship and resilience, and capturing moments of both sorrow and hope. One particular photograph of a young child playing amidst the ruins of a refugee camp profoundly impacted me. It encapsulated the stark contrast between innocence and the harsh realities of displacement. This project reinforced my belief in the power of photography to raise awareness and evoke empathy, motivating me to continue using my craft for social impact.

What advice would you give to aspiring photographers who are looking to develop their own style and voice in the field?

To aspiring photographers, I would say: immerse yourself in the world around you and remain curious. Developing your style and voice takes time and experimentation. Don’t be afraid to explore different genres and techniques to discover what resonates with you. Study the work of photographers you admire, but also look for inspiration outside of photography in literature, art, nature, and everyday life. Most importantly, practice regularly and be open to feedback. Your unique perspective is your greatest asset, so embrace it and let it shine through your work. Remember, authenticity and passion are key to creating compelling and meaningful photographs.

Abstract State© 2023 - All rights served

Interview with

Mathias Kiss

Mathias Kiss is a contemporary French artist known for his work in the fields of sculpture, painting, and installation. He is particularly recognized for his artistic creations that play with notions of space, perspective, and trompe-l'œil. His often monumental works frequently incorporate architectural and decorative elements, exploring the boundaries between art and architecture. Kiss is also famous for his interventions in historical places, transforming spaces with a bold and innovative approach.

Mathias Kiss has a very unique approach to the sky in his artistic work. He often explores the representation of the sky through installations, paintings, and sculptures that defy traditional expectations and perceptions. Here are some aspects of his approach to the sky:
Perspective and trompe-l'œil: Kiss frequently uses perspective and trompe-l'œil techniques to create the illusion of an infinite or expanding sky. He plays with dimensions and angles to give the impression that the sky unfolds beyond its physical limits.
Unusual materials and mediums: He experiments with a variety of materials and mediums to represent the sky in unexpected ways. For example, he might use mirrors, transparent fabrics, threads, or other reflective materials to capture the brightness and depth of the sky.
Integration into architecture: Kiss is also known for his artistic interventions in architectural spaces, where he transforms ceilings or existing structures to evoke the sky. These installations can create an immersive experience where viewers feel enveloped by the sky.

Can you define us your artistic style and influences?

My artistic style is a bold fusion of classical and contemporary, where the boundaries between the two blur to create something new and captivating. My main influences come from classical architecture, modern and contemporary art, as well as nature itself. I draw inspiration from the elegant symmetry of ancient palaces as much as from the organic complexity of natural forms.

Can you provide examples of innovative uses for gold leaf?

Gold leaf is a fascinating material that offers a unique visual and symbolic richness. My choice to use it in my works stems from my fascination with its brightness and its ability to transform the most ordinary surfaces into something truly extraordinary. My creative process with gold leaf involves a combination of traditional techniques and contemporary concepts, thus creating pieces that capture both the light and the viewer's imagination.

How can traditional and contemporary art be fused together innovatively?

Integrating traditional and contemporary art into my works is essential to me because it allows me to explore the links between the past and the present, between familiarity and innovation. I believe that it is at this intersection that the most powerful and inspiring ideas are born. By merging these two aspects, I aim to create works that transcend the boundaries of time and aesthetics.

What impact has the training with the companions had on you?

My training with the companions has deeply influenced my artistic approach by providing me with a solid foundation in craftsmanship and tradition while encouraging me to push the boundaries of creativity. The emphasis on meticulous work and mastery of artisanal techniques has allowed me to approach my art with a level of attention to detail and precision that characterizes my work today.

How does your art interact with the environment?

My installations in public spaces aim to create an emotional connection between art and its environment. I firmly believe that art has the power to transform spaces and evoke reactions and reflections in those who encounter it. By integrating my works into various contexts, I seek to create immersive experiences that invite the public to interact with their environment in new and meaningful ways.

What roles do aesthetics and the messages behind your works play?

Aesthetics play a central role in my work, but they also carry emotional and conceptual depth. My works are not only beautiful to look at; they tell stories, evoke emotions, and invite reflection. Through my artistic provocations, I seek to challenge expectations and conventions, prompting the audience to question their perceptions and explore new perspectives on the world around us.

Could you tell us about your most recent project and how you foresee the evolution of your work in the future?

A recent project that is particularly close to my heart is a series of installations exploring the theme of duality and balance. Inspired by the concepts of light and shadow, tradition and innovation, these works explore the tensions between opposites and the possibilities of harmonizing them. Looking to the future, I am excited about exploring new techniques and mediums, as well as the opportunity to collaborate with other artists and designers to create even bolder and more immersive artistic experiences.

Abstract State© 2023 - All rights served

Interview with

Mide Placido

Mide Placido, born in 1957, is a visual artist based in Coimbra, Portugal. She works in the conceptual field, primarily through photography. She holds a degree in Painting from EUAC (Escola Universitária das Artes de Coimbra) and has studied as part of the Master's program in Contemporary Artistic Creation at the University of Aveiro.The body and its understanding are central themes in her work. Her most recent practice explores issues of the body in relation to changes over time, such as aging.Through her work, Mide Plácido aims to ignite discussions on the needs of all people and build visions that contribute to a fairer and more coherent society. She believes that artistic practice can create awareness. The experience of freedom intertwined with symbolic absurdity is the core of her scenarios and the starting point for her works.Since 1998, she has exhibited regularly in Portugal and abroad, participating in both individual and group shows.

Can you tell us about your journey as a visual artist and how you got to photography?

Until 2012, I painted in my studio and worked as an art teacher at a school for pre-teens. For years, I explored freedom through the plastic effect of pictorial materials, chance, and the body in fluid gestures. It was an elixir for my happiness. However, in 2012, my personal life changed, and I decided to change everything that could be changed. I stopped working and started dedicating myself to art full-time. I returned to university to update and expand my knowledge and to get involved in new experiences, though photography wasn't yet part of my journey.One day, I came across a collective mentoring program in photography entitled “She.” I felt simultaneously attracted to the title and uneasy about the photography aspect due to some preconceived notions. Nevertheless, I embraced the experience. Why not paint with light instead of paint? Today, my work has evolved. While the element of freedom remains, it has expanded in its purpose.

Does your background in painting influence your photography?

My background in painting is deeply influenced by my knowledge of art history. Regardless of the technology I use, I draw inspiration from it. For example, Pablo Picasso used his work to highlight the realities of his time and draw attention to existing problems. Similarly, I aim for my research to be committed to today's social realities, evoking what affects me and others within it.

What inspired you to address the marginalization of older people through your art?

As I am experiencing the aging process myself, I realize what it means to grow older. I see that a woman's aging process is different from a man's. Society often views aging as unacceptable, leading many older people, especially women, to become slaves to a forced youth in order to fit into the always-young pattern. This fear of aging stems from society's perception of older people as being incapacitated. We must be able to choose, without coercion, how to react and continue with the natural process of aging. After all, with luck, we will all grow old one day, right?

How do body, heat, ice, and time symbolize aging in your work?

Initially, I thought of these elements as natural signs of transformation, as basic as the thirst we all feel within ourselves. These elements are metaphorically strong for my work. I transitioned from depicting the mouth to depicting the hand, as signs of waiting. The title "Warming the Ice with the Body" remained, but the project is still ongoing.

How can art influence societal views on aging?

Art can play a crucial role as an agent of awareness and transformation in society. The artist's unique perspective can influence and change deep-rooted perceptions about our elders and other issues affecting us. People often feel distant from problems that don't directly impact their lives, such as the marginalization of older people. However, when these issues are highlighted artistically, they become more tangible and impactful, leading to reflection on the importance of combating this reality. This is my hope.

What role do freedom and symbolic absurdity play in 'Warming the Ice with the Body?

My work stems from a desire to investigate the lack of meaning in today's society. It is my small, free, and revolutionary act against the incongruous world we live in. Society, in my view, is a well of bizarre artistic works waiting to be created. Therefore, I invent alternative narratives and absurd constructions as an antidote to the absurdity contained within. Dadaism, for example, questioned traditional societal values through absurd artistic manifestations.

What has been the most memorable response to your work, either from an exhibition or an individual viewer?

In 2018, I exhibited a set of photographs from a project entitled "Grab Them by the Pussy" in two countries with very different cultural characteristics. These images of fetishized bodies, reminiscent of the feminine, showed reactions to the veiled violence implicit in double-meaning words that circulate around women's bodies. On the opening days of both exhibitions, I noticed that my work seemed to stop men in their tracks. Most women glanced at the images sideways and moved on. I haven't forgotten this because I am still trying to understand why.

Abstract State© 2023 - All rights served

Interview with

Jemima Charrett-Dykes


Jemima Charrett-Dykes is an artist whose output is primarily autobiographical, drawing from experiences in childhood and the aftermaths of psychosis as a result of Complex Post-Traumatic Stress Disorder. Using art-making as a therapeutic outlet, Jemima’s work often references her past and the traumas linked to her body both physically and mentally. She operates across multiple mediums, all of which are thematically linked through visions of childhood, the female body an exploration of “the self” and psyche as the main subject. It might also be interesting to talk about my work that is being launched as part of a book collection at MACBA, Barcelona this winter. Jemima has exhibited and sold paintings, photographs and books in a range of galleries across Europe, including London, Glasgow and Paris.

In what ways has your experience with CPTSD shaped your artwork?

Naturally, sometimes I wonder what my life would be like if I didn’t have Complex Post-traumatic Stress Disorder. My experiences in childhood that led to my diagnosis have certainly shaped a lot of how I see and experience the world around me. Similarly, I don’t know what my art would look like had I not experienced such things. My observation of trauma thematically links everything I make and influences my artwork so directly that I think my output would be completely different if I did not have those experiences. At first, I didn’t consciously realize that I was creating work about my conversance with C-PTSD and psychosis. Rather, I was just making art as a way of expressing emotions that I couldn’t put into words. As I became more acquainted with my diagnosis and have been in therapy, I’ve realized that it really is my trauma that is influencing all of my decisions when art-making. It is what shapes every idea and series that I create, as my output is an autobiographical narrative on my experience in childhood and post-adolescence, where I began to deal with the repercussions of being traumatized. As I initially began making art simply by way of therapy and not for the purposes of becoming an artist, I don’t know that I would have ever picked up a paintbrush had I not been unwell, which is very strange to think about.

What is your process for transforming personal and painful experiences into art?

When I am creating work, I am dialed into my unconscious mind and less focused on linear thought. I find that I best create when there is a memory or feeling that I find is taking up a lot of space in my head. When I allow space for this particular emotion or experience whilst art-making, I have a springboard that forms the central theme for the piece I am starting. From here, tangents and connotations form and more memories or emotions come to light. This is helpful especially when I’m painting, as the different emotions that emerge from my unconscious blend together to form one piece, which is why my work is so abstract—it’s basically the coming together of a handful of ideas and emotions relating to one overarching theme. I’m quite a private person, but I find that when I’m painting or taking photographs it becomes very easy to address topics that are very personal to me. I think this has a lot to do with the fact that I am creating imagery out of more metaphysical, conceptual ideas that I would struggle to put into cohesive words in normal conversation. Creating a vision from painful experiences is a process I find really helpful. It can be a lot less intimidating to be focused both on what I’m creating as well as these distressing emotions, rather than to simply sit with difficult thoughts and memories.

How do you decide which medium best suits your creative vision?

Typically, the two mediums I use the most are mixed media painting or photography.

I think I’m drawn to photography when I have a more specific idea that I’m considering; painting is a medium I turn to when I’m expressing more fluid, less elusive chains of emotions. Often, the ideas for my mixed media images are born from archival imagery, like when I look at old photographs or letters that evoke certain feelings. I’m currently creating a book that includes a bit of everything self-portraiture, poetry, and found imagery and it’s proving useful to combine different mediums in order to tell different parts of my story. Photography and found imagery can be harnessed to illustrate particular memories and moments in my life, whereas, when the vision is leaning toward the metaphysical, concepts are more easily explored through poetry and painting.

What inspires your focus on themes of childhood and the female body?

When I first started art-making, I was focused solely on my childhood and was harnessing art as a form of therapy. Whilst I was studying my undergrad in photography I was really interested in artists like Jenny Saville and Louise Bourgeois, whose work follows similar narratives to my own. When I studied art psychotherapy in Edinburgh, I read a book called ‘The Body Keeps the Score’ by Bessel van der Kolk, where the central themes are surrounding how the physical body contains and is affected by trauma. I think that, in relating to this, it was a combination of taking inspiration from feminist artists and my personal interest in “The Self” that led to my exploring the female body in my output. Although I had previously explored nudity within self-portraiture, the first painting I ever made was actually created in response to a long time spent waiting for a diagnosis in regards to my own reproductive organs, so this was the first time I really explicitly explored that theme. Since then, both the ideas of childhood, trauma, and the female body have started to merge and become more fluid topics within my work.

Can you discuss the role of the self and psyche in your work?

The self is a central theme across my whole output, and something I am continuously working on addressing and improving. I’m very invested in Carl Jung’s theory regarding the self, how it is an archetype embedded in all of us where the conscious and unconscious come together in unison. Since being in therapy myself, I’ve definitely become a lot more aware of my own individuation and the importance of addressing every aspect of my personality and experiences, however difficult. Exploring the self within my artwork aids me in constantly remaining conscious of my ever-changing psyche, and the role of this when art-making proves essential to how I reflect on certain memories, especially when I am faced with trauma.

How have audiences in different European cities responded to your work?

I’ve been quite lucky in that I feel my work is transferable between different types of audiences from varying walks of life. I think the fact that my artwork lends itself to the abstract plays an essential part in this translation. I think my work resonates most with an English-speaking viewer, as a lot of the narrative within my work is referred to within the poetry and words harnessed alongside the imagery. In saying that, I think it is my paintings that don’t include locution that are most consistently appreciated throughout Europe, which is something that has certainly boosted my confidence in my ability to paint over time.

What role has art played in your healing process, and what advice do you have for artists using art as therapy?

I can’t honestly say that I know I would be as healed from past traumas as I am today had I not begun to create work about my experiences and mental health. I feel that, no matter your ability as an artist, channelling your creativity and unconsciousness can play a vital role in healing from both physical and mental trauma.

I would advise anyone interested in using art as a form of therapy to become acquainted with the core ideas that are weaved through the subject. I first familiarized myself with art psychotherapy by reading books from writers like Alain de Botton (his book "Art as Therapy" is beautiful and one of my favourite comfort reads) and looking at work by pioneers of the Art Brut and Naïve Art movement like Jean Dubuffet. Interacting with art that isn’t necessarily created by artists with formal training is something I found really helpful as someone with no official education in painting as I found both the imagery and themes being discussed relatable, and it definitely provided me with some reassurance, feeling less alone and less fearful of judgment in my endeavour to create.

Abstract State© 2023 - All rights served

Interview with

Dotan Negrin

Dotan Negrin is an experiential designer and multimedia artist based in NYC. He is the Founder/CEO of LUME Studios, a leading experiential agency with a multi-level venue in TriBeCa. Founded in 2016, LUME Studios serves as a hub for international brands, celebrities, and artists to create unforgettable experiences and video productions. Through the use of high-end visual software, projection mapping, and spatial audio, the venue and creative services are tailored to enable his clients to tell visually dynamic and engaging stories that resonate with audiences.Over the past few years, LUME has also become the premier destination for new media art exhibitions through its SUBJECTIVE programming, which connects the digital and physical realms by providing a platform for artists, collectors, and communities to celebrate art and internet culture in NYC.

Dotan is also known for his global travels around the world with a full-size piano, playing music in more than 24 countries and 500 cities between 2010-2016. His travels took him on an adventure of living in a van, meeting thousands of people who joined him in public jam sessions in the streets. Dotan documented his travels on his YouTube channel, Piano Around the World.

Dotan, if I were to sum up your roles, you're a musician, a CEO, and a curator who brings digital and physical art together in unique ways at LUME Studios. But, who do you feel you are the most: musician, CEO, or curator?

Ten years ago, I was a full-time musician doing gigs and making YouTube videos. Now, after launching LUME, I've evolved into a founder/producer. I spend a lot more time managing the team, designing new installations, and maintaining the space. I really enjoy producing our own experiences, events, and art shows. As of now, because so much of my time is spent developing LUME Studios, I would consider myself more of a founder/CEO.

Based on your choice, how does that primary identity shape your approach to your other responsibilities?"

Being a founder, I am forced to wear a lot of hats, and I find myself shifting, using my brain in a variety of ways throughout the workdays. My management style is creative and experimental, constantly trying new things to see what works. This makes my approach more freestyle and less organized compared to others. I’m more of a "let's try this, let's try that, let's see what works" kind of person. As an artist, I was not always the most organized, but my work as a founder has forced me to spend more time planning and organizing before I take actions

Can you share a memorable experience from your global travels with the piano that had a significant impact on you?

Sure. After over five years of traveling around the world and living out of my van, I learned that we all have friends we haven't met yet. Everywhere I went, people wanted to connect, live in peace, and be happy. I saw that there are more good people in the world than bad people. In Zurich, I met a guy who introduced me to local artists and musicians. The next day, I played on the streets, and had 50 strangers join in to participate in co-creating live music and fun.Another time in 2011, I posted on Couchsurfing.com that I was going to Madison, WI but didn't have anyone to celebrate my birthday with. One of the people on the platform saw my message and invited me to join him and 8 friends for a birthday dinner. I spent my birthday eating dinner with complete strangers who celebrated with me and even got me a cake. These experiences showed me the universal desire for connection.

What do you enjoy most about hosting new media art exhibitions at LUME Studios, and how do you select the artists and projects featured in the SUBJECTIVE programming?

I love people. I enjoy meeting interesting people from around the world and discovering how they use technology and art in unique ways. My goal is to create exhibitions that encourage connections and collaborations. I want to inspire people to create, I want to give them the ability to do so, and I want them to walk out in awe of their experience. We select artists and projects by seeking out innovative and unique work, often tapping into various communities and galleries to find fresh talent.

What inspired you to start LUME Studios, and how has it evolved since its founding in 2016?

LUME Studios, originally called 393 NYC, was rebranded in 2019. The inspiration behind it stems from my lifelong journey of creativity and exploration. From playing with Legos as a child to pursuing acting, music, and various forms of art throughout my life, each experience contributed to the foundation of LUME Studios. After college, I delved into video production and traveled the world with my piano, merging different skills and passions along the way into a YouTube channel called Piano Around the World.

LUME Studios represents the culmination of these experiences—years of learning and practicing lighting, sound, video, projection mapping, curation, and business management. In 2016, I saw an opportunity to take over a space previously occupied by another business. With low rent and a vision for hosting events, particularly for brands, I seized the opportunity and embarked on the journey of building LUME Studios.

What has been the most challenging project you've worked on at LUME Studios, and how did you overcome those challenges?

The most challenging period was in the beginning when I was handling everything solo, working 16-hour days consistently. While there wasn't one specific project that stood out as the most difficult, there was a stretch in 2017 where I worked 20 consecutive days, 12 to 16 hours each day, which was incredibly demanding. Dealing with the impact of COVID-19 was also extremely challenging, particularly having to let go of staff and taking on the responsibility of managing the entire space by myself. While I can't pinpoint one specific event, there were definitely moments of being overworked and exhausted. Each challenge required perseverance and determination to overcome.

If you could collaborate with any artist, living or deceased, on a project at LUME Studios, who would it be and why?

If I could collaborate with one artist, it would be Bobby McFerrin. I’ve always been excited by his work as a musician and his ability to bring the entire audience together in song. I have seen him perform many times and even met him. He has the ability to use his body and voice as the instrument itself. He is also famous for bringing musicians on stage from the audience, and it's such a good time. I would love to do an audio-reactive experience with him, combining sound, light, and color together in the space.

Abstract State© 2023 - All rights served

Oliviero Leonardi

Oliviero Leonardi (1921 - 2019) was an Italian painter and sculptor based in Rome. He was largely recognized in the 1970/80s as one of the leader in painting with experimental materials on steel plates baked in oven at high fire (at 900 degrees Celsius). His artistic research focused, among others, on the subject of cosmogony. He was partially influenced by futurism, surrealism, cubism and art informel.

In the 1970/80s, he had more than 25 collective and solo exhibitions in major art galleries in Italy, France, Spain, Monaco, Germany and Luxembourg. He exhibited with a collective of artists including Giorgio De Chirico, Salvador Dalí and Joan Miró during the 1975 Contemporary Art Exhibition in Fiuggi, Italy. His work was also exhibited at the Maschio Angioino, the Centro di Cultura Italiana, the Saarland Museum, the Van Gogh House Museum and the Limoges Biennale, and commissioned for public spaces including the metro in the city of Rome and the Pan-American headquarters in New York.

Following two decades of successful exhibitions, Oliviero Leonardi detached from the world of art on his own, and slowly started creating art for himself from the 1990s until his passing few years ago. His efforts, art, beliefs, innovative art techniques, numerous exhibitions, ideas, friends, and critics, namely his work and art as a whole, were almost completely forgotten.

During his exploration phase on the island of Capri, Oliviero Leonardi discovered the potential of steel as an artistic medium. After Capri, he travelled to Florence, Venice, Palermo, Rovereto and Ravenna to perfect his knowledge of the artistic forms.In a post-WWII context, he became passionate about studying the origin of our universe and, in the broader sense, human existence and condition.

Oliviero Leonardi became one of the leader in paintings with experimental materials on steel baked in oven at high fire. He believed that art and its message should not be limited by the degrading physical attributes of its medium. He wanted to crystallize his artistic message ad vitam aeternam.

His work captures the great scene of the world where the artist’s vision evolves to the heart of known and unknown spaces. The art of Oliviero Leonardi tells a sacred story, the origin, a primordial event that is created by the colors and the letters in baked ovens at high temperature.
Time is not a continuous concept in Oliviero Leonardi’s art.

Abstract State© 2023 - All rights served


Abstract State, a Contemporary Art Magazine ("we", "us", or "our"), is committed to protecting the privacy of our users. This Privacy Policy outlines how we collect, use, and disclose information when you use our website or interact with our services. By accessing our website or using our services, you consent to the collection and use of your information in accordance with this Privacy Policy.Information We CollectPersonal Information: When you interact with our website or services, we may collect personal information such as your name, email address, postal address, and phone number. We collect this information when you subscribe to our magazine, sign up for newsletters, or participate in surveys or promotions.Usage Information: We may collect information about your usage of our website, including your IP address, browser type, operating system, and pages visited. This information helps us improve our website and provide a better user experience.Cookies: Like many websites, we use cookies to collect information and enhance your browsing experience. Cookies are small files stored on your device that track your interactions with our website. You can choose to disable cookies in your browser settings, but this may affect certain features of our website.How We Use Your InformationTo Provide Services: We use the information we collect to fulfill your requests for our magazine, newsletters, and other services. This includes processing subscriptions, delivering content, and responding to inquiries.To Improve Our Services: We analyze usage data to understand how visitors interact with our website and services. This helps us identify areas for improvement and develop new features.To Communicate with You: We may use your contact information to send you updates about our magazine, promotions, and other relevant news. You can opt out of these communications at any time by following the unsubscribe instructions included in our emails.To Protect Our Rights: We may use your information to investigate and prevent fraud, unauthorized access, or other illegal activities.Disclosure of InformationWe do not sell, trade, or rent your personal information to third parties without your consent. However, we may share your information with trusted service providers who assist us in operating our website, conducting business, or servicing you, as long as those parties agree to keep this information confidential.We may also disclose your information when we believe it is necessary to comply with the law, enforce our site policies, or protect our or others' rights, property, or safety.Data SecurityWe take reasonable measures to protect your personal information from unauthorized access, disclosure, alteration, or destruction. However, no method of transmission over the internet or electronic storage is 100% secure, and we cannot guarantee absolute security.Children's PrivacyOur website and services are not directed at children under the age of 13. We do not knowingly collect personal information from children. If you are a parent or guardian and believe that your child has provided us with personal information, please contact us, and we will take steps to remove that information from our systems.Changes to this Privacy PolicyWe may update this Privacy Policy from time to time. Any changes will be posted on this page, and the effective date will be updated accordingly. We encourage you to review this Privacy Policy periodically for any changes.Contact UsIf you have any questions or concerns about this Privacy Policy or our practices, please contact us at info@abstractstate.usThis Privacy Policy was last updated on May 3rd, 2024

Abstract State© 2023 - All rights served