Issue #1 of Chroma Zone Magazine 'A Celebration of Colour'. An independent artist-led publication. www.chromazonemag.com

1. Chroma ZoneChroma Zone
MagazineMagazine Issue #1
A
Celebration
of
Colour
AA
CelebrationCelebration
ofof
ColourColour

2. 1. Emily Shih1. Emily Shih
2. Arpa Mukhopadhyay2. Arpa Mukhopadhyay
3. Monica Marshall3. Monica Marshall
4. Nataie Wynne4. Nataie Wynne
5. Emi Avora5. Emi Avora
6. Jonathan Onsuwan Johnson6. Jonathan Onsuwan Johnson
7. Ella Yolande Porter7. Ella Yolande Porter
8. Georgia Green8. Georgia Green
9. Francesca Edwards9. Francesca Edwards
10. Peter Tudhope10. Peter Tudhope
11. Sam Vickers11. Sam Vickers
12. Ronis Varlaam12. Ronis Varlaam
13. Jody Mulvey13. Jody Mulvey
14. Jess Hay14. Jess Hay
15. Silvia Ziranek15. Silvia Ziranek
16. Joe Edwardes-Evans16. Joe Edwardes-Evans
17. Jacob Talbot17. Jacob Talbot
18. Catriona Calchini18. Catriona Calchini
19. Ayşegül Altunok 19. Ayşegül Altunok
20. Thomas Valianatos20. Thomas Valianatos
21. Honestly Casual Projects21. Honestly Casual Projects
22. Parumveer Walia22. Parumveer Walia
23. Kevin Boardman23. Kevin Boardman
24. Lewis Andrews24. Lewis Andrews
25. Alexey Adonin25. Alexey Adonin
26. Alice Clayphan-Taylor26. Alice Clayphan-Taylor
27. Japo Okworobu27. Japo Okworobu
28. Theresa Gourley28. Theresa Gourley
29. Victoria Rose Richards29. Victoria Rose Richards
30. Tom Giwi30. Tom Giwi
31. Hope Turnbull31. Hope Turnbull
32. Thyme James32. Thyme James
33. Tarla Patel33. Tarla Patel
34. Sofia Grin 34. Sofia Grin
@cat2791@cat2791
@arpa.mukhopadhyay@arpa.mukhopadhyay
@clownchic@clownchic
@venus.scribbles@venus.scribbles
@erasmiavora@erasmiavora
@photo.johnson@photo.johnson
@ellayolande@ellayolande
@georgiagreenart@georgiagreenart
@francescaedwardsfineart@francescaedwardsfineart
@petertudhopeart@petertudhopeart
@sam.vickers.art@sam.vickers.art
@ronisvarlaam@ronisvarlaam
@joddddddy@joddddddy
@jesszipy@jesszipy
@silvia_ziranek@silvia_ziranek
@j_edwardesevans@j_edwardesevans
@scruffsart@scruffsart
@ccalchini@ccalchini
@aysegul.altunok@aysegul.altunok
@thomasvalianatos@thomasvalianatos
@_honestlycasual@_honestlycasual
@parumeer.art@parumeer.art
@boardmankevin@boardmankevin
@lewis_andrews_art@lewis_andrews_art
@otherworldlydream@otherworldlydream
@alice.clayphan.taylor@alice.clayphan.taylor
@arts.jin@arts.jin
@theresagourlay@theresagourlay
@victoriaroserichards@victoriaroserichards
@tomgiwi_studio@tomgiwi_studio
@hope_turnbull@hope_turnbull
@coat.myself.in.paint@coat.myself.in.paint
@t_a_r_l_a@t_a_r_l_a
@lachesis_mutus@lachesis_mutus

3. Foreword:Foreword:
Welcome to ‘A Celebration of Colour’, the very first issue of Chroma
Zone Magazine, an independent artist-led publication. This issue
is packed full of colour, as an introduction to 34 talented creatives
from around the world. I hope you enjoy looking through it as much
as I have enjoyed putting it together!
I started Chroma Zone Magazine to create more opportunities for
creatives and offer an inclusive platform dedicated to sharing art.
I believe that it is important to value and recognise the significant
cultural impact of art, in our communities.
The theme ‘A Celebration of Colour’ came about because I wanted
this issue to be a distraction from all that has happened in 2020
and because I love colour! It is clear from the artwork in here
that colour can be an escape, it can influence emotion and it can
invigorate. The intent of this issue is not to glaze over the difficult
events of this year, but to create space for a breather, while focusing
on something simple and universal: colour. I hope that Chroma
Zone Magazine becomes a community for empowering creatives
and inspiring readers.
I would like to thank everyone that has been involved and
supported the making of this publication – you know who you
are! And a special thank you to all of the artists involved, who
responded to the invitation to participate with imagination and a lot
of colour.
There will be much more to come from Chroma Zone Magazine
in 2021. As the name suggests this publication will always be
underpinned by colour in some way. However, future issues will have
different themes in areas like politics, environmentalism, cultural
and social issues, aesthetics and many more.
Emily Harling,
Curator

4. Emily ShihEmily Shih
Emily Shih’s paintings are inspired by natures beauty. By utilizing bright and saturated colours, she
arrangesirregularshapesandvariouschromaofcolourblocksalternatively,simplifyingthedetailsof
the scenery. Shih’s paintings express spatial extensity and rhythm. Through colourfulimpressionism,
sheconstructsnewimagerywithvisualresonance.Mostofherworksdepictnaturallandscapes,such
assunsets,mountains,rivers,reflectionsofwater,placesshehastravelledandplacesshehopestovisit.
1.
2.
3.
“
“
I like positive, optimistic and joyful
themes. I want for people to look at
my artworks and feel the same thing
that I do- peace, happiness, joy and
always believing in something good.
I love colour. I think there are all kinds
of colours and lightness in nature.
I don’t want to copy nature. I don’t
think any colour alone is absolutely
good or bad. If there is a relationship
between different colours and the
right amount of each colour is placed
in the right position, the aesthetic,
feeling and space can be created.
1. FISHING 2018 | ACRYLIC ON CANVAS | 60.5 X 72.5 CM
2. SUNSET 2018 | ACRYLIC ON CANVAS | 72.5 X 60.5 CM
3. LANDSCAPE 2018 | ACRYLIC ON CANVAS | 72.5 X 60.5 CM
1

5. Arpa MukhopadhyayArpa Mukhopadhyay
ArpaMukhopadhyayisanemerging
artist based in Pune, India. She
believes that ‘art is the greatest
therapyknowntomankind’andhas
been painting since the time she
wassix.Mukhopadhyayisdrawnto
simplicity, love, equality and inner
peace, these themes influence
her paintings. Her artworks are
based on vivid memories and
experiences that she has had
at various junctures in her life.
1.
2.
1. FISHING 2020 | ACRYLIC ON CANVAS | 60.5 X 72.5 CM
2. INDIAN VILLAGE WOMEN ON GRASS 2020 | ACRYLIC ON
CANVAS | 51 X 41 CM

6. 3
Monica MarshallMonica Marshall
Monica Marshall (also known as Clownchic) is a
multidisciplinary artist who has recently completed her
BA in Fine Art at York St John University. She favours
painting, drawing and printmaking in various scales and
works with motifs to respond to a world she sometimes
struggles to navigate as a neurodivergent. The impact of
COVID-19 as well as her Asperger Syndrome often comes
up in her practice through her obsessive motifs and
prolific making, representing her thoughts, feelings and
experiencesthroughtext,cartoonishself-portraits,visual
diaries, and ugly/cute characters. Marshall is currently
studying a Master of Letters in Fine Art Practice with a
specialism in Print Media at The Glasgow School of Art.
1.
“
“
Colour is very prominent within my practice. It offers another form of communicating my
emotions alongside and within the motifs; one example is green representing the calmer,
impartial aspects of my personality and red being more confrontational and open shown in
Green Neutrality, Red Mania (2019). Some of these associations are still present in the work I’ve
created in 2020, influenced by many welcome and unwelcome changes.
In my recent work, the pink and green slugs are a recurring motif, and they represent how
individuals have different emotional responses to the world around them. Seeing as I am
prone to being pessimistic, I tend to portray myself as the drunk, gloomier slug to show how I
contrast with the more cheerful pink slug, and how the pair still find ways to connect with one
another despite how their outlooks and personalities can vary. It’s also a nod to the impact of
COVID-19, as it’s had a massive impact on the evolution of my practice and motifs.
Another recent motif from 2020 is the Big Bastard, and I’ve made a number of etchings of this
character in different colours to create different moods, despite the same image and figure
being present. Although there’s less contrast in the green version, I feel as though it amplifies
the notion of stench and rotting that is present, creating a more visceral element to an already
ghastly yet comical scene.
2.
1. BIG BASTARD 3 2020 | ETCHING ON HERITAGE PAPER |
APPROX 66 X 52 CM
2. SLUGS 2020 | MIXED MEDIA | APPROX 21 X 30 CM

7. Natalie WynneNatalie Wynne
“
“
THE FROGS HAVE ALWAYS BEEN GAY 2020
This illustrative piece was from the bizarre and infamous Alex Jones
statement that the government is ‘turning the frogs gay’ (Or something
to that effect) what if the frogs have always been gay? Using gouache,
and a little bit of wit, I responded with some lovely frogs proudly sat atop
lily pads, decorated with various pride flags. The colourful celebrations of
LGBTQ+ pride have always inspired me, and I wanted to portray that in this
painting.
Colour is the bread and butter of my artwork! Colour can speak to us in so
many different ways, evoke all kinds of emotive responses, and fill our lives
with joy.

8. 5
Emi AvoraEmi Avora
Born in Athens and currently based in
Singapore, Emi Avora draws subject matter
from her everyday life and Greek ancestry.
Her paintings enter a dialogue with modernist
historical canons and ‘ponder on our
ambiguous relationship to colonial narratives,
exoticism, taste and the everyday. Elements
of humour, curiosity and anxiety occupy her
‘sometimes dreamy, sometimes intense’
compositions. Avora allows space for invention
in her work, creating a gap between the real
and the imaginary. Her everyday observations
become exaggerated through her use of
colour and scale, she focuses on capturing
what surprises her or grasps her attention.
Avora uses mark-making to investigate the
power of painting to transcend imagery
by breaking it down to the basics of
colour, shape, pattern and composition.
1.
“
“
Colour is an incredible tool that
enables me to project my own
vision on to what I observe.
Its my way of distorting the
composition and disorienting the
viewer allowing him/her to enter
a space for dreaming and fiction.
2.
2.
3.
1. CUP BEARER 2020 | ACRYLIC ON CANVAS | 90 X 70 CM
2. ROOSTER 2020 | ACRYLIC ON CANVAS | 100 X 120 CM
3. SECRETS BEHIND EVERYTHING WE SEE 2020 |
ACRYLIC AND OIL ON LINEN | 90 X 70 CM

9. Jonathan Onsuwan JohnsonJonathan Onsuwan Johnson
“
“
My experience as a mixed-race artist--straddling several
cultures at once-- makes me an invested observer of
the intersections of place with the personal, local and
metaphoric. Questions central to my practice include: in
what ways can we perceive a place? And, what is it like to
be alive today within the various contexts of globalism?
I pursue these inquiries through the act of walking and
utilizing “slow” forms (experimental films, photobooks
and poetic photo essays) as a way of examining places
where I have cultural and family connections: urban
Southeast Asia, the rural Midwestern United States and
other temporary residencies. This method is a critique of
productivism and meditates on how geography applies to
fragmentedspace,identityandtheconstructionofmeaning
Colour is the portal and the first step into a deeper
journey. The work reveals itself only after color has left
its afterimage on the viewer.
THREE POLAROID IMAGES 2018

10. 3.
7
Ella YolandeElla Yolande
1.
2.
“
“
1. IN IT’S DEPTHS 2020 | FILM STILL
2. SKELETAL SPROUTING 2020
3. FUTURE FOUNTAIN 2020
I am interested in creating surreal environments to explore ecological systems. These pieces
draw on visual references from ocean dwelling creatures and microscopic organisms, along
with Ernst Haeckel’s work on radiolaria. Radiolaria are minuscule, elaborate mineral skeletons.
They can act as an indication of ancient climates and extinct life forms and provide an insight
into the histories of our planet. Within an environment as vast as the ocean, I’m interested in
focusing on something as small as a microorganism, as a way to start looking at the importance
and complexity of these ecosystems. With this imagery and through playing with scale I am
beginning to collate forms that will exist within an immense garden. An imaginary, surreal
garden where these fossilised skeletons and extinct organisms grow into the size of trees and
and are interspersed with fleshy mineral fountains. I look at structures in nature with the idea
to use video, sculpture and digital drawing to create environments of symbiosis, harmony and
hybrids between plants, animals, minerals and humans.

11. Georgia GreenGeorgia Green
1.
2.
“
“
In my practice dreamscapes and
landscapes collide; people and
interiors soften into hyper-bright plant
and bird motifs; anthropomorphic
forms dissolve into something
delightfully primitive and hopeful.
Here memory exists as colour alone,
illuminated by the chimerical tangle
of curiosity and longing that prompts
each print.
For me, colour is a way to intuit and
elevate the narratives which illuminate
my art. It sparks a playful process of
transferral; a process of chromatic
purification as my surroundings are
condensed into ink.
1. ST FRANCIS OF ASSISI 2020 | RISOGRAPH PRINT |
29.7 X 42 CM
2. PORCELAIN DOG 2020 | DIGITAL PRINT ON
SOMERSET VELVET | 29.7 X 42 CM

12. 9
Francesca EdwardsFrancesca Edwards
Stimulated by the concept of colour interaction, Francesca Edwards’ installations explore the
dialogue that is created between the painted surface and colour illuminations, when colour
changing sequences are projected on top of canvases. By combining abstract painting with colour
changing projection it allows her to see the direct effect that digital light has on painted colour.
“
“
1. BIG BASTARD 3 2020 * ETCHING ON HERITAGE PAPER *
APPROX 66 X 52 CM
2. SLUGS 2020 * MIXED MEDIA * APPROX 21 X 30 CM
My gestural paintings are photographed, digitalised and then projected back onto the original
canvas. This second layer depicts an animated colour sequence that illuminates the painted
colours, creating a sense of movement across the space.
The aim of my work is for the viewer to be completely immersed in colour. As they engage with
the work walking closer to the ‘projection painting’ they will then become part of the work as
the projection covers their bodies and clothes in the animated colours.
LIGHT PAINTING 2020

13. Peter TudhopePeter Tudhope
1.
2.
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“As a shy, creative child, resistant to pressure and frustrated by conformity, art gave me a
way to express supressed energy with passion. It gave me a focus and a long term emotional
equilibrium. I have walked over hills and the coast line all my life it seems obvious to me that
they should become major influential subjects. I love the seasons. They have their own colour
system, smells and moods which have called to me, encouraging me to be a part of them.
Colour is Life. After a scary diagnosis and long wait for a very long surgery I feel very appreciative of
life. My work has been more colourful in recent years a process of looking closer and enjoying life.
1. LATE AUTUMNAL SUN 2017
2. OLIVE GROVE, CATALONIA 2018

14. 11
Sam VickersSam Vickers
Sam Vickers’ has a multidisciplinary practice, driven by concepts. Its context defines
the physical material he works with, as a result, each piece differs from the last.
However, there are some common factors across his works like; scale and a modernist
aesthetic.Thesharp,colourfulstylecrossesoverfromhisinvolvementingraphicdesign.
Vickers sees ‘the thought processes behind conceptual art and graphics as being fairly
interchangeable.’ Metaphysics, psycho-geography history and his interest in the late
60s and 70s conceptual art, are among other frequent starting points for his work.
“ “
FIRST PAST THE POST 2020 | 150 X 80 CM
I used to be put off by including colour as a dominant factor in my work- too potentially
decorative, too contextually loaded- but because most of my work from the last two years has
dealt with duality, choice and power, bright, complementary colours have taken centre stage.
Colours are difficult to manage and everyone struggles in their own way, but for me, they are
useful devices for representing the contrasts, conflicts and points of origin within my work.

15. Ronis VarlaamRonis Varlaam
1.
2.
“
“
1. CONFUSING THE BOMBS | ACRYLIC
PAINTING | APPROX 76 X 70 CM
2. SQUARE TWO | OIL PAINTING | APPROX
70 X 70 CM
In my abstract paintings
colour is everything.
In my my figurative
paintings I just try
to paint as closely to
reality as possible.
Ronis Varlaam is a figurative and abstract painter. Most of Varlaam’s abstract paintings
are about colour.
Varlaam’s ‘CONFUSING THE BOMBS NO 3’ was inspired by an event during the war
in Kosovo. ‘People there painted their bridges in different colours to save them from
bombs. This is because each colour absorbs different heat levels and by painting them
different colours they confused the heat-seeking bombs and saved their bridges.’
‘SQUARE TWO’ is an oil painting from a series about colours and space.

16. Jody MulveyJody Mulvey
“
“
A DEGREE SHOW FOR ANTS + OTHER FRIENDS 2020
Jody Mulvey (she/her) is a recent Edinburgh
College of Art, Fine Art MA graduate,
currently based in Scotland, whose work
revolves around the notion that art can
ultimately be a playful enquiry that oozes joy.
The hierarchical structuring of institutional
spaces within the arts and the rituals visitors
are required to enact within them, provide the
stimulus for her artistic practice. She explores
this by utilising colour, shape and materiality
as a medium to subvert the seriousness of
institutional spaces and playfully reconstruct
them through her interventions. Drawing,
collage and the making of maquettes provide
the preliminary means of envisaging potential
encounters between visitors, her artwork and
the environment in which they are situated.
She views these modes of exploration as
an artistic playground where she is able to
mishmash and meld components together to
constructacomposition.Drawingislikewriting
to her due to the fluid and impulsive nature of
the mark-making. It is like her subconscious
rambling and scrolling of the mind and how
she makes sense of spatial sensations and
the relationship between forms in two-
dimensional surfaces; preliminary processes of
two-dimensional enquiry are a vital prelude to
collaging within the three-dimensional realm.
If you know me, you’ll know that colour
means a lot to me. Colour brings me
confidence; I wear colourful clothes and
vivid eye shadow nearly every day, but it
is particularly important on my gloomy
days. This loving relationship with colour
reflects in my artwork. More often than
not, my work and I match; we are echoes
of each other. I use colour in my art
practice to activate and invigorate spaces
within a world that I often think is dull.
It is for precisely this reason I see colour
as a beacon of hope. A light at the end of
the tunnel. An accomplice that brightens
my gloomy days.
13

17. Jess HayJess Hay
Jess Hay is a Glasgow based creative
specialising in craftwork, primarily
rug tufting with wool. Rug tufting is a
labour-intensive technique that combines
the traditional method of rug-making
with new technologies. Hay uses bright
colours, repetitive motifs and surrealist
themes to create playful pieces. Her
work holds a sense of pleasure and
excitement, with its textures and colours.
Her rugs are experimental, in form and
colour and present a playful appearance.
“
“
Colour excites me. To me, colour brings a
sense of life to the work, to the room it’s
exhibited in, and to the eventual home,
it finds itself in. I think most simply,
colour makes me happy, but certain
combinations of colours and patterns
can evoke a sense of nostalgia, and I can
find myself moved by choices of colours
to sadness. Colour provides emotion, and
I think more often than not, it brings
brightness to our world.
1. COLOURFUL FLOWERS 2020 | 53 X 77 CM
2. RED HANDS 2020 | 50 X45 CM
3. LOOPY BLUE HANDS 2020 | 30 X 45 CM

18. Silvia ZiranekSilvia Ziranek
“
“
I write, and often present my writing in performance. Whether I perf or simply exist my clothing
communicates me/life via (mostly) pink. I have no black clothes by choice - I disposed of them.
For each perf presentation I create an outfit which is then assimilated into my everyday
wardrobe.
Colour means everything to me and my work.
Colour communicates, projects, involves.
Colour insulates and protects.
I’ve made demands on colour (weave rose foncé and eau de nil and tangerine).
Pink doesn’t wait to be asked, it doesn’t wait to speak English.
Pink is perfectly able to speak for itself: the kiss of colour.
THEREFORE I PINK
I PINK THEREFORE I AM
I PINK THEREFORE I THINK
I PINK THEREFORE I THINK I AM
I PINK THEREFORE I AM (I THINK) THEREFORE I PINK
THEREFORE I AM
THEREFORE I THINK
I PINK
I AM
I THINK
(I KNOW I THINK)
SILVIA ZIRANEK
THEREFORE I PINK | WRITTEN 2020
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19. Joe Edwardes-EvansJoe Edwardes-Evans
Thoughts on brown
Brown is the one colour that screen technology has not been able
to define for itself, or render permanent. Think of the furtive reds,
blues, yellows of the world before liquid crystal displays, those
colours that might become so insistent and singular in one moment
of high light and fresh application, to fall back towards other, more
mercurial hues as just another inconclusive output of the ever-
renewed equation between light & substance. LCD displays make
these colours terrifyingly stable, now the sources of illumination
that they were historically always subject to; a turquoise square on
a screen in the day enters the space around it in exactly the same
way as it will at night.
Brown does not, because brown has always been the colour behind
and between all the other colours. Producing brown on the screen
brings it forwards in a movement of synthesis without ingredients.
Because what was brown before? Tired red? Overly-familiar green?
The point between yellow light and blue shadow? Grey in the real
world? The colour of your peripheral vision? All colours mixed?
There is, famously, no wavelength for brown, and whilst this has
led some to infer that brown cannot therefore exist, that it must
be a word reached for to cover inconsistencies or equivocations of
tone in human eyes, it is tempting to say that brown – rather than
being the surplus that neat colour theory silently accepts if only to
settle its accounts with the world outside of Impressionism – could
actually be the spectrum before differentiation; the centre of the
rainbow, harder even to fix or find than its end.
Joe Edwardes-Evans
THOUGHTS ON BROWN |WRITTEN 2020

20. Jacob TalbotJacob Talbot
Jacob Talbot is a BA Photography student from Leeds Arts University, UK.
He is a multidisciplinary artist, manipulating analogue and digital photography, extending into
fine art based multi-media pieces.
Talbot’s work encompasses a range of photographic genres exploring both the physical and
metaphysical aspects of an image. His practice transmits empathetic visual language whilst
investigating emotional projection, not only on the viewer but within the subject framed.
Alongside and within his photographic practise, Jacob Talbot also utilises the benefits of sculpture
to allow the objectification of the material image. Film making, music composition and three-
dimensional techniques add to his practise, whether it be commissioned or for personal outcomes.
“ “
PHOTOGRAPHS 2020
This series of images was process-based; collaborating and working alongside a fellow artist,
experimenting with colour as a means to communicate emotion. This is not only a ‘reflection’ on
the current climate we live in, but with the use of a physical screen dissociating and distancing
the subject these tangencies are heightened.
17

21. Catriona CalchiniCatriona Calchini
““
PHOTOGRAPH SHOT WITH AN OLYMPUS AZ-1 ZOOM CAMERA 2020
I love the boldness and striking beauty that colour can give. Colour jumps
out at you, it makes you pay attention. I feel when working with colour
my work manifests itself into more than the scenario or image that was
intended to be captured, it tells a story in itself.
Catriona Calchini’s interest when photographing is to capture
Glasgows raw, industrial wonders, with a keen focus on the city’s
motorways, structures and urban flora. She finds joy in seeking out
the unconventional and unintentional beauty throughout the city.

22. Ayşegül AltunokAyşegül Altunok
“
“
VIRTUAL REALITY 2019 - 2020
I’m working on the forms and feelings that we can catch in nature, future or at the details of
some ruins... I’m re-constructing them like installations that can never find their spaces in our
physical world... They just open a space of their own, in our visual minds... We know that a bird
was flying over this installation but just in our minds. Does this make a sculpture real or virtual?
I want to ask what is the real space and where it is? Can we say that the spaces in our minds
are real or not? I’m using the viewer’s mind space as a sculptural area. I want to install my
sculptures in your mind space.
I think the colour is as important as the form of sculpture. A colour can soften the mass of any...
For example, we think that soft-toned and light coloured masses are lighter than the darker
ones. Or you can make someone feel that a red line moves faster than a blue line...
19

23. Thomas ValianatosThomas Valianatos
SHAN SHUI PAINTSCAPES 2018
Thomas Valianatos’ audiovisual works are hybrid artworks based on new media and audio-
reactive live visuals. The aim of his practice is to ‘create experimental 2d/3d graphics in real-
time, using various techniques and artistic media such as Generative Art, Music Visualization,
Virtual Reality, Depth Cameras and Synthesizers’. Valianatos’ artworks, in their final form, are
presentedasliveaudiovisualperformances,videoscreenings,digitalprintsandoriginaldrawings.

24. Honestly Casual ProjectsHonestly Casual Projects
“
“
THEY FOLLOWED THEIR FEET 2020 | FILM
‘They Followed Their Feet’ is a sensory film that uses visual and audio textures; particularly
highlighting the colour orange through the story as well as the visuals. Accompanying this is an
ambiguous story of four children, who are featured within the film. Collaborating across our two
different locations is a puzzle that we are constantly figuring out. Ultimately this film is about
finding meaning in madness. Something I’m sure we can all relate to!
Colour is a main thread in our visual work.
You can see this in our mug selection.
Chana is an ambassador for stripes on stripes.
Polly has 365 pairs of white socks (Chana does not)
Owners of yellow, burgundy, pink, green, orange shirts.
We recently learnt the colour orange increases oxygen levels to the brain.
And we are here for that.
Colour is a part of our personalities as much as it is a part of our practice.
We advocate using colour to create specific moods, atmospheres, and just pure satisfaction.
Honestly Casual Projects are two
female dance artists recently
graduated from Northern School of
Contemporary Dance, currently making
and exploring the realm of film.
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25. Parumveer WaliaParumveer Walia
“
“
‘Stop Erasing Us’ is a soft pastel drawing on a duplex sheet, and is a commentary
and visual representation of the political and social erasure of immigrants and
similar minority sects. These minorities are racialized and actively discriminated
against, in both covert and overt ways. This idea of a complete dissemination of
one’s identity, of erasing them in various ways is very directly communicated in
the visual of the work The title, written in the Hindi language, furthers the racial
tone of the work and highlights how immigrants are discriminated against due to
racial and cultural characteristics, even including their first languages. As a result,
speaking in your own tongue in a foreign land has, in my experience, become a
fearful thing- an open invitation for bigotry. You are perceived as an outsider, a
non-compliant, and become the target of linguism, racism, and xenophobia.
PASTEL ON PAPER 2020

26. Kevin BoardmanKevin Boardman
“
“
Kevin Boardman is interested in the participant’s relationship with production and outcome
within his work. Through site-specific interventions and workshops, he explores this interest
using materials such as paper, whiteboard and tape for participants to engage with. They
reveal new insights or ideas in the form of drawings, sculptures, and live performances.
My role within this process
varies depending on the project,
acting as a facilitator, observer
or active participant. Operating
in this manner allows me to
explore curiosity through a
trans-disciplinary lens rather
than fixing my practice to a
specific medium or discipline.
I use this open field of enquiry
to deliver workshops and
consultation to a range of
industries including Education,
Fashion Design and everything
in-between.
“
“
Colour is another code to
my practice. Operating in a
process/discovery fashion,
colour allows me to explore
new insights. Colour can be
that code that connects to the
audience, in a way that black
and white struggle to achieve.
It opens new boundaries
to creativity which is why I
resonate with it so well.
PARTICIPATORY PROJECT 2020
23

27. Lewis AndrewsLewis Andrews
Lewis Andrews is a Fine Artist based in
Leeds, United Kingdom. His work specialises
in dealing with complex thoughts, ideas and
facts within nature and science. Some explore
those in which we seem to be overshadowed
and overpowered in comparison by the vast
distances,sizeorquantities.Othersinvestigate
moments of extreme power, creation and
rebirth on a molecular scale or on a scale
comparabletothatoftheuniverse.Questioning
our relationships, place and role within the
universe, environment and natural spaces.
“
“
‘The Progressive Decline of The Frozen
World’ is a Reflection on the fate
of our frozen environments due to
climate change through the action
of melting ice making the drawing.
Unless action is taken the planet will
suffer the same unfortunate fate of
losing all its ice. Habitats and wildlife
lost. Our home which Carl Sagan
referred to as a Pale Blue Dot in the
cosmos, is melting. Dying.
Colour rarely enters my practice
overall. Occasionally, however, when
working with a specific idea, it can
dictate several aspects about the
work. A good example of this would
be these drawings. The drawings
are trying to draw attention to our
planet and it’s current crisis. It’s a
well known fact that most of our
planet is covered by water but also
Carl Sagan once wrote about how
we are a simple pale blue dot in the
cosmos. With this information in
mind, the colour blue had to be part
of the outcome of these drawings. So
for me, colour is something I would
normally shy away from possibly.
However, if an idea requires the use
of colour, I’m not afraid to incorporate
it into the work.
THE PROGRESSIVE DECLINE OF THE FROZEN WORLD 2020 |
ICE AND BLUE INK ON WATERCOLOUR PAPER | 29.7 X 42 CM

28. Alexey AdoninAlexey Adonin
Alexey Adonin is a Jerusalem based, abstract-surrealist artist. Adonin uses a unique
technique in which he layers oil paints solely on top of one another to create a
mystical, transparent look in his paintings. His philosophy stems from the idea that
one’s reality is made up of what they believe it to be. He uses his art as a platform
to express his ‘profound ideas about reality, humanity, and their intertwined behaviours’.
“
“
The mysterious power of colour
works on many levels as a
sensory activating experience.
Through a closer look into
the interlaces of paint layers,
light, and shadow, we can
find comfort and an expanded
sense of being. This is the
realm where my art strives to
dwell.
1. ENIGMATIC INCARNATION 2020 | OIL ON CANVAS | 100 X 80 CM
2. PSYCHEDELIC FOREST 2020 | OIL ON CANVAS | 100 X 80 CM
3. SHORE OF FANCIES 2017 | OIL ON CANVAS | 90 X 90 CM
1. 2.
3.
25

29. Alice Clayphan-TaylorAlice Clayphan-Taylor
Alice Clayphan-Taylor is an abstract and expressionist artist, working mainly in acrylics
and digital art, exploring the relationship of shape and colour to the emotions they
draw out. She focuses on colourful abstract pieces, experimenting with layering, shapes
and texture and trying to create a sense of movement. Clayphan-Taylor also explores
nature and human bodies, in connection with how colour and shape can heighten
emotions. Her main inspirations are feminism and contemporary abstract expressionism.
“ “
DIGITAL PAINTING 2020
Colour is integral to my work, it completely changes a piece. Sometimes I
spend hours slightly changing the colours in my digital pieces until I feel
they are right. The way colours interact with each other makes me feel
different emotions that I can’t explain and in my work, I try and portray
emotion using colour.

30. Japo OkworobuJapo Okworobu
Japo Okworobu is a conceptual artist who paints thought-provoking portraits which explore the
discovery and realisation of different moments, situations and times. She wants to communicate
positive and even negative human emotions through her artwork. The most important
characteristics of Okworobu’s work are implied realism, contrast and emotional reactions.
Each piece is a reflection of the artist or a created reality, as this is her continued journey
explored through creativity. Every piece ignites the contemplation of the end goal- ‘What
can we also reflect upon?’ Her personal history is reflected in her artwork, as this is a
continued journey explored through creativity. She feels that art should be a safe outlet.
“ “
Personally, colour is another
way to convey an emotional
response. Colour is a powerful
communication tool that is
used in my artwork alongside
facial reactions.
1. FORCED HAPPINESS 2020 | OIL ON CANVAS
2. FRUSTRATION 2020 | OIL ON CANVAS
3. OUCH 2020 | OIL ON CANVAS
1. 2.
3.
27

31. Theresa GourlayTheresa Gourlay
“
“
1. ROW OF TREES 2020 | COLOURED INK COLOURED PENCIL GESSO AND CHALK
| 58 X 80 CM
2. LIGHT ON FIELDS 2020 | COLOURED INK COLOURED PENCIL AND GESSO | 59
X 84 CM
3. PATH BY FIELD 2020 | COLOURED INK COLOURED PENCIL AND GESSO | 84 X 59
CM
I paint landscapes from sketches and photographs mostly of places close to
my home in Fife. I sketch outside with pens of all kinds, biros, coloured fine
liners or highlighting pens and make further drawings from these using biro,
coloured pencil, watercolour and ink, mixing materials up as I go. I make larger
pieces in the studio with bright coloured ink, enjoying creating the harmonies
and discords that describe the lie of the land, the weather and the light. I layer
coloured ink and gesso, creating different hues of the same colours, I add a
coloured pencil, chalk, whatever might work.
1.
2.
3.

32. Victoria Rose RichardsVictoria Rose Richards
“
“
In living in the countryside in a place of outstanding natural beauty, I am surrounded by
inspiration in the endless fields, lush forests, winding rivers and reaching moorlands. After
experimenting with embroidery landscapes for a while, I specialise in aerial views, out of
adoration for the mix of textures and patches visible from them, with the main focus of
almost all of my art pieces being the fields and strong colours! How many people have fond
memories of visiting the countryside as a child? In these idealized scenes, with vivid colours
and soft textures, I attempt to express a nostalgia that is both comforting and bittersweet,
bringing back rose-tinted memories of simpler days past.
I love colour for the emotion it can evoke and how it can completely change the
atmosphere of a landscape even if nothing else is changed! I like to use strong, rich colours
to show idealistic, optimistic feeling landscapes and I like to think they can stir some
warmth or wanderlust in people!
IF ONLY WE COULD STAY IN THIS MOMENT FOREVER 2020 |
LANDSCAPE EMBROIDERY | 41 CM DIAMETER
29

33. Tom GiwiTom Giwi
“ “
COLOUR BURST 2020
I love using vibrant colours in my work. I gave my self the mission to create
a striking multicoloured piece in the space of ten or so minutes. I think the
end result is quite a fun image. I feel this is a result of having the freedom to
primarily focus on colour. The influence here I believe comes from wallpaper
designs I had in my bedroom growing up.
TomGiwiisamulti-disciplinary,visualartist.Giwiaimstobringtolifeuniqueconcepts
and visuals that spark the imagination. He draws inspiration from a broad range of
disciplines combining abstract visuals, surreal concepts and unique graphic design.
His also expands into typography, print clothing and imaginary prosthetic design.

34. Hope TurnbullHope Turnbull
“
“
AT THE DINNER TABLE 2020
HopeTurnbull’spracticefocusesheavilyon‘ourownexperiencesofeverydaylife,the
mundaneritualswefindourselvesdoingdayinanddayout’.Turnbulliscuriousabout
movingawayfromthecontextoftheimagethroughcolourandlinetofuelafictional
narrative. By doing so, she aims to blur the line between reality and fabrication.
Colour is the most important aspect of my paintings. If the colours in my
painting are wrong, the whole mood and narrative shifts. I work intuitively with
colour. I let it guide the work. I like how when I put down a single colour it can
shift the piece from a seemingly mundane image into this whole ‘otherworldly’
scene. Sometimes, this way of painting leads to a total disaster and completely
ruins a good painting; but when it works it is honestly one of the most
rewarding feelings.
31

35. Thyme JamesThyme James
“ “Colour is everything to me, without it life would be incredibly mundane.
I believe that it’s colour which creates the strongest expression in art, be it bold and
vibrant, subdued and pastel or the absence of colour all together. It holds the same value
as the line or mark-making, but unfortunately without the same level of consideration
behind the choices and teaching surrounding it.
1. POWER 2019 | SCREENPRINT | 20 X 20 CM
2. AFTER KLIMT 2019 | SCREENPRINT | 20 X 20 CM
3. UNTITLED 2019 | SCREENPRINT | 40 X 40 CM
Thyme James is a Glasgow based inter-disciplinary artist, whose practice is based in expanded
painting. Thyme combines traditional notions of paint with filmmaking, whilst also working
in autographic mediums namely printmaking, painting and drawing. Their broad practice
primarily focuses on the female form, both as subject matter and as a conceptual tool to
explore women’s place within the arts, inclusivity, sexuality and object-hood within a digital
era. Dominant themes within their work stem from gender theory and philosophical thought.
Using line, solid vibrant colours and painterly marks these prints make up a larger body
of work - formal exploration of the female form. By taking inspiration from life drawings,
Victorian erotica and their own nude selfies, James’s work upholds a feminist critique,
addressing how women are presented through art, the male gaze and self-representation.
1.
2.
3.

36. Tarla PatelTarla Patel
“
“
Tarla Patel’s work explores, identity, space and belonging through memory and migration. Patel
specialises with analogue film and photography, which she combines with digital mediums to create
layered artwork. ‘I have a special interest in exploring stories from the past as I am the legacy holder
of my father’s photography archive from the 1950s to 2000 that documented migrant communities
from the post-war era’. Her work is influenced by the narrative of decolonisation, race, and feminism.
Colour has its own memories,
for me, it is a reminder of my
past and sets its place in my
presence. Colour has unfolded
itself into my life with the
patterned combination of my
mother’s sarees to temple visits
and vivid ceremonies from an
early age. My work plays with the
idea of revisiting the past and
colours play a significant role
in exploring identity, migration
and belonging through my
photography and images. The
colours of my past with crazy
combinations of clashing tones
and patterns happily entwine and
root themselves into my work
and lifts my mood.
33
LAYERED ANIMATIONS 2019 - 2020

37. “
Sofia GrinSofia Grin
SLEEPWALKER 2020 | ACRYLIC ON PAPER | 25 X 37 CM
SofiaGrin’screativeprocessisdefinedbyspontaneousreactionsthatemergefromtheworldaround
her and are consolidated, through constant intuitions and practices. Her practice is driven by a great
needformovementandclarity,itoccurswith‘deeppatience’.ForGrin,‘observationfromaplacefreeof
judgementisessentialinthisinstance’.Herworkexploreseverydayspacesandsimplicityassomething
eccentricinthemodernlifestyle,depictedinanabstractlanguageinfluencedbyrawartandminimalism.
“To create from a genuine space, it is necessary to get rid of the ideas of reference that limit
our perception of what is possible. In this sense, creation is a path through contradictory
thoughts and feelings that, if you manage to cross, will allow you to find a new perspective
of both the internal and external spaces that surround your life, a certain sense of unity in a
fragile world in constant change, and the death of all intense emotions.

38. THE VIEWS AND CONTENT EXPRESSED IN THIS PUBLICATION ARE THE THOSE OF THE CONTRIBUTORS AND NOT NECESSARILY SHARED BY
CHROMA ZONE.
REPRODUCTION OF THIS PUBLICATION IS FORBIDDEN IN ANY FORM WITHOUT PERMISSION FROM CHROMA ZONE.
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