Photo: Maha Smagulov, Ana Pupina

When Mariia Khas finally arrived at silver as her primary medium, it felt completely natural. Up until that point, the Mongolian artisan and jewelry designer mostly crafted rings, pendants, and earrings from wood, yet the material’s fragility eventually redirected her to silver, something she describes as “just as warm, but far more durable.” The metal was precious to the artist in other ways, too: in Mongolian culture, Khas explains, silver is considered a “purer and more sacred” material than gold.

It should come as no surprise, then, that Khas’ jewelry radiates a quiet sense of strength and divinity. Self-taught and inspired by Buddhist traditions, Khas has become known for her sleek, metallic aesthetic, expressed through skin-tight finger armor, dramatic lip rings, and bracelets lined with silver teeth. Each piece seems sturdy enough to protect against the outside world, with details derived from mythology and spirituality. By rooting her work within her own cultural heritage, Khas and those who wear her jewelry participate within a “larger cycle” of creativity and humanity.

“What I do isn’t new,” Khas tells My Modern Met. “It’s more like forgotten traditions brought back to life. Everything we create today is part of a larger cycle—it’s all been done in different forms before.”

My Modern Met had the chance to speak with Mariia Khas about her artistic inspirations, her creative process, and the themes and traditions that underpin her practice. Read on for our exclusive interview with the artisan.

Photo: Maha Smagulov, Ana Pupina

What originally intrigued you about jewelry and jewelry design?

Since childhood, I’ve been drawn to working with my hands and experimenting with different materials. I actually started out crafting rings, pendants, and earrings from wood, but I soon realized that no matter how carefully you treat it, wood eventually breaks. That’s when I turned to metal—something just as warm, but far more durable.

In my culture, silver is considered a purer and more sacred material than gold. We even use it to make ritual bowls for milk or water—food absorbs the ions of 999 pure silver and is believed to support the body’s health.

Photo: Maha Smagulov, Ana Pupina

Photo: Maha Smagulov, Ana Pupina

What is the process of creating one of your pieces of jewelry?

Everything begins with a feeling—a desire to hold onto an emotion or moment. Most of my pieces are born from this emotional impulse. Then comes sketching and researching the theme. If it’s a cast piece, I sculpt a wax model. If it’s a hand-forged item, I sometimes start by building paper models—for example, when I created smoking pipes inspired by traditional Mongolian and Japanese designs. I spent days cutting paper templates just to get the proportions right before touching metal. You know what they say: measure twice, cut once.

Photo: Maha Smagulov, Ana Pupina

What themes, shapes, and forms do you find yourself most drawn to throughout your artistic practice?

I’m most drawn to mythology, cultural heritage, and the spiritual symbols of my people. Throughout my life, I’ve searched for a sense of protection—and without realizing it, I began channeling that search through the imagery of guardian spirits from my culture and religion. Although I wouldn’t say I’m deeply religious, Buddhism, for me, is more of a mindset, a way of understanding oneself and the world around us.

Photo: Maha Smagulov, Ana Pupina

Photo: Maha Smagulov, Ana Pupina

Are there any specific materials that you particularly enjoy incorporating throughout your work?

I work almost exclusively with silver, especially 999 pure silver. It’s hypoallergenic and perfect for hand-forging. During my student years, I practiced with yellow and white copper simply because silver was too expensive. Those were humble beginnings, but they taught me a lot!

Photo: Maha Smagulov, Ana Pupina

Jewelry-making and design are both being seen more and more as fine art. Is this a development you have witnessed across time, and what is your perspective on the relationship between art and jewelry?

Absolutely. Everything we create today is part of a larger cycle—nothing is truly new; it’s all been done in different forms before.

Jewelry-making demands not only a refined sense of aesthetics but also precision, discipline, and strong technical skills. It’s a fine art balanced with rigorous craftsmanship. Personally, I dream of attending a classical jewelry school or intensive workshops someday. Most of what I know, I’ve taught myself.

Photo: Maha Smagulov, Ana Pupina

Photo: Maha Smagulov, Ana Pupina

 

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A post shared by Mariia Khas (@khasomari)

Would you consider your designs to be experimental, contemporary, or subversive, and, if so, what does that look like for you?

What I do isn’t new—it’s more like forgotten traditions brought back to life. As I said, everything’s already been invented.

My pieces often serve a practical purpose. For example, I started making nail rings because I felt self-conscious going on dates after a 10-hour studio day with my hands covered in metal dust and patina. And believe me, that kind of grime only comes off in a sauna! I work every day, so often my thoughts begin with, How can I make this work?

Photo: Maha Smagulov, Ana Pupina

 

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A post shared by Mariia Khas (@khasomari)

 

View this post on Instagram

 

A post shared by Mariia Khas (@khasomari)

What do you hope people will take away from your work?

Honestly, I’ve never thought about that in depth. When I create, I’m fully immersed in the piece, and when it’s finished, I let it go to live its own life. It always warms my heart when clients send me stories and photos. Those little moments make me smile every time.

Mariia Khas: Website | Instagram

My Modern Met granted permission to feature photos by Mariia Khas.

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Born and bred in Bushwick, Joe Ficalora has transformed the face of his neighborhood, transforming it into an open-air art museum with a project he calls the Bushwick Collective. But Ficalora is not your typical art curator. In fact, one could say he's an accidental art curator who, in the best way, used his personal pain to reshape his environment.

In 2011, after losing his mother to a devastating battle with brain cancer, Ficalora was looking for a change. So he began searching the internet for street artists who could transform neighborhood walls with their art. Even though he had no connections or experience with the art world, he took a chance and invited several artists to come and paint. And in June 2012, the Bushwick Collective was born.

Over the past 13 years, Ficalora's personal initiative has changed Bushwick and drawn top-tier local and international talent. Everyone from legendary street artists Blek le Rat and Jef Aerosol to My Modern Met favorites Dasic and Alice Pasquini have left their mark on Bushwick's walls.

What makes the Bushwick Collective unique in terms of street art projects is its scope, which moves far beyond the aesthetics of the finished artwork. Ficalora cares deeply that anyone who brings their work to the neighborhood understands its history and is passionate about being part of the community. And each year, an annual block party brings that community out en masse—a stark contrast to Ficalora's days growing up there in the 90s, when he wasn't allowed to play outside for safety reasons.

My Modern Met had the chance to speak with Ficalora about the history of the Bushwick Collective and where he sees it headed. Read on for our exclusive interview.

 

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A post shared by Bushwick Collective (@thebushwickcollective)

How did you know that the Bushwick Collective was really starting to take off?

I didn't, I just kept doing it because it made me feel less pain from my loss and the void of my mother no longer being around. People, including family, started to come together, and it was my therapy. I'd say three years into it, I realized I had a greater responsibility to others whom this project has affected and inspired.

Tymon de Laat for The Bushwick Collective

Mate for The Bushwick Collective

How has it helped shape or make a difference in the community?

It has brought the whole world together and created a home for people who love what they are doing with life, not just artists….volunteers, lawyers, doctors, marketing executives, photographers, families. I have received messages even last week to ask when we are hosting our annual event, so they can plan their family trip to America around it. It's a platform for everyone to do what they love and give more of themselves than they receive.

Enzo for The Bushwick Collective

Golden305 for The Bushwick Collective

Over a decade in, how has the Bushwick Collective evolved?

It has evolved organically through the blessings of all the souls and hearts that have contributed to this family. Bushwick Collective has its own soul and has grown through the years. Life is about evolving and changing to be better each day we get blessed to be here.

What is your current process for selecting artists who participate?

You must be dedicated to your craft, passionate, and an all-around good human being. Life is way too short not to give it your all!

Stash & Patrick Kane McGregor collaboration for The Bushwick Collective

What do you see for the future of the Bushwick Collective?

I never planned this, and just like life, none of us knows what's to come. I'll just keep being true to my passion for this project and the beautiful people who have helped build it and have helped me put my broken heart back together

Bushwick Collective Artist BBQ, an annual event held for artists who have painted for the collective. (Photo: Dave Lee)

14th annual Bushwick Collective Block Party

How has the whole experience impacted you personally?

In so many ways, so much so that I want it to go forever, even when I'm no longer here and able to continue. It has helped me understand my mom's journey, realize what truly matters, and be inspired by endless amounts of inspiring people (artists, Bushwick KiDs Collective, journalists, volunteers, supporters, sculptors, business executives, musicians, rappers, DJs, producers, videographers, families, young artists, so many). Last year, a young artist came all the way from London to perform live for us to try to get on stage for the Bushwick Collective Block Party. This is just an example of the inspiration and effect that this platform has made, and I have so many more stories to share.

The Bushwick Collective: Website | Instagram

My Modern Met granted permission to feature photos by The Bushwick Collective.

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“La voz que se esparció entre las montañas,” 2024, oil on canvas, 59 x 59 in

In the work of artist Angel Cammen, there's much more to a self-portrait than the likeness of the painter. Born and raised in Northern Mexico, a stronghold of conservative values, Cammen's paintings are charged with a bubbling symbolism. On one hand, they are spaces of introspection, carved out by the artist himself. On the other hand, they are joyous statements that he is thriving and going to be loudly himself—whether society likes it or not.

Cammen's mother passed away when he was only eight years old. Prompted by the itch to reach out to her and tell her what he's up to, the artist often turns his canvases into missives. He encloses an image of how he looks today and also shares important news, such as moving in with a partner, or even the simple, mundane musings that cross our minds. In this way, art is the one and only communication channel with the great beyond.

For all their autobiographical load, Cammen's paintings hold space for the queer community. His compositions often serve as a mirror; whether the viewer is scared to look or loves the reflection, that's up to every individual. But they also offer acknowledgement and a beautiful, colorful space for those in need of a place to be seen, accepted, and understood.

Cammen lists Frida Kahlo and Diego Rivera as some of his main influences, tending a bridge to the past and present in Mexican art. The Kahlo effect can be seen in the head-on self-portraiture, taking up space through boastful colors and motifs that fill the composition with meaning, while the artist also channels the nonconformity battle cry of mid-century Mexican muralists.

We had a chance to talk to Cammen about his beginnings, his creative process, and the emotional core of his work. Read on for My Modern Met's exclusive interview.

“Los hombres comen chile,” 2024, oil on canvas, 39.3 x 51.2 in

How did you get started in painting?

My start in painting had to do with my fascination for color theory, but I have another explanation that I like better. When I was six or seven years old, I saw a painting in the parish of San Gregorio Magno, in my grandparents' town in Zacatecas, Mexico, and it made a great impression on me. I was very curious to know how someone could create something like that, and it is something very beautiful because 20 years later, I still have the same curiosity I had as a child. Curiosity can take you far.

“El sillón rojo,” 2023, oil on canvas, 39.3 x 39.3 in

How did you develop your personal style?

I remember hearing an interview where an artist (whose name I don't remember) said: “Repetition creates recognition”, and that idea has been fundamental for me in the last few years. It is very important to me that my work is easily recognizable. I think my self-portraits, compositions, color palette, and some elements have helped me develop my personal style.

Is there any style that you feel particularly influenced by?

Yes, I am particularly influenced by Mexican figurative painting, which manages to fuse a strong emotional charge with social, historical and cultural themes. I am inspired by artists such as Julio Galán, Frida Kahlo, Diego Rivera, to mention a few, who have used the human figure as a means of symbolic and narrative expression. I am interested in how the figurative in Mexican art transcends representation to communicate, question, and connect with identity.

“El impostor (yo no pagué por esto),” 2023, oil on canvas, 51.2 x 39.3 in

Your work seems to focus on memory, identity, and sexuality. What role do these motifs and themes play in your practice?

Yes, these themes are at the center of my work because they are fundamental axes of the human experience and also of my personal history. Memory allows me to explore the intimate, the familiar, and how the past shapes our perception of the present. Identity is a constantly changing construction, influenced by gender and emotional relationships, and I am interested in representing it from its tensions and contradictions. Sexuality is a vital, complex, and political force, not only as desire, but also as a space of vulnerability, affirmation and resistance. Together, these themes allow me to work from the autobiographical towards the collective.

“El irremediable dolor, “2024, oil on canvas, 59 x 86.6 in.

What's your creative process like?

A key part of my process is research and reading, which help me contextualize and delve deeper into the topics I address. I work with family photographic archives as a starting point, from which I find images that inspire me with ideas and emotions. I'm not interested in reproducing photographs as is; I prefer to create compositions from multiple images, like a visual collage that blends time, bodies, and gestures. This way, I construct new images.

Are the people in your paintings based on real people, or are they variations of the same character?

They usually are self-portraits, although sometimes I am joined by others. I have depicted my relationship in painting; in some other works, I have painted my mother, father, or grandmother. For me, the theme of memory is important because my mother passed away when I was eight years old, and I don't have many memories or photographs of her. Sometimes I repeat certain bodies or postures as a way of insisting on a sensation or a memory. In that sense, it could be said that they are not portraits, but constructed presences, variations of the same figure that is born from the real, but they inhabit an emotional, symbolic space, speaking of my mother.

“Mandarína,” 2024, mixed media (pastel oils on canvas), 27.5 x 27.5 in

What do you hope people will take away from your art?

I hope that those who approach my work can feel something genuine, that it awakens a memory, a forgotten emotion, a question about who they are or where they come from. I work from the intimate, from what hurts me, moves me, or makes me doubt, and I would like that honesty to be reflected in the viewer's experience. I do not seek to give answers, but to share a quest.

Courtesy of Clarisa Navarro

Angel Cammen: Instagram

My Modern Met granted permission to feature photos by Clarisa Navarro.

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“The Block,” 2023.

There are countless ways to describe New York, but Danny Cortes typically veers toward words like “fast,” “layered,” “gritty,” and even a “little messy.” For the Brooklyn-based artist, though, “authentic” is perhaps the most important descriptor for the city in which he was born and raised. By design, it also happens to be the guiding principle behind his work.

Once a pandemic pastime, and now the basis of his creative practice, miniature modeling has allowed Cortes to capture what he calls the “very essence and soul” of New York. These models encompass everything from city streets lined with classic five-story walk-ups and storefronts to ice machines splattered with graffiti and stickers. Regardless of what they depict, Cortes’ urban scenes embody the singular character of a city that has shifted under the weight of gentrification across the past few decades. Few neighborhoods exemplify this evolution better than Bushwick, where Cortes has lived throughout most of his life.

“Bushwick raised me—it was raw, loud, and full of culture,” Cortes tells My Modern Met. “Now, it’s changing fast. A lot of what I knew growing up is gone.”

How, then, can we preserve the memory of a specific place, particularly when the city’s rapid pace constantly revises what we once knew? Cortes’ solution—miniature models—offers settings that are unquestionably frozen in time, showcasing a past that, despite it all, is still embedded in the fabric of New York.

“[My models] preserve moments in history, snapshots of communities, cultures, and everyday life that risk being forgotten or erased, especially in rapidly changing places like Brooklyn,” Cortes adds. “In this way, my models become more than just representations—they serve as vessels of memory and cultural preservation.”

My Modern Met had the chance to speak with Danny Cortes about his artistic process, the importance of his work as it relates to cultural memory, and his relationship to Brooklyn. Read on for our exclusive interview with the artist.

What originally compelled you about miniature models?

I originally took up miniature modeling as a pandemic pastime, but soon a voice told me this was my true calling. What drew me in was the intimate process of recreating spaces on a small scale. It’s not just about achieving visual accuracy; it’s about capturing the very essence and soul of a place.

Growing up in Brooklyn, I was surrounded by neighborhoods full of life, stories, and constant change. Miniatures give me the chance to slow down and notice the details that often go overlooked, allowing me to connect more deeply with the environments that shaped my experiences. This artistic process lets me explore my memories and identity growing up in New York City in a uniquely personal way. After all, every building in this city began as a small drawing before becoming the structure we know today. I’m simply recapturing its uniqueness and spirit through my work.

What is the process of creating one of your models, and what materials do you use most frequently?

Many of my pieces incorporate recycled materials, making my work unintentionally environmentally conscious. I’m naturally drawn to what’s available and adaptable. My creative process starts the moment I step outside and observe the world around me. I mentally map out a grid of the environment, seeing buildings, streets, and objects through a fresh perspective.

While others might find a building too large or complex to replicate, I immediately begin imagining how to recreate it on a smaller scale using everyday materials. For example, kebab skewers, straws, and other simple objects help me mimic architectural details. I often use wood, metal, and wire to bring my miniatures to life, but each piece is truly unique.

How has your upbringing in New York influenced your practice, and how do you imbue the city’s character throughout your work?

Growing up in New York taught me how to navigate the chaos, noise, and constant motion of the city with creativity. The city raised me with its grit and glamour, its noise and stillness, its decay and growth. Those dualities have deeply shaped how I create my art. I didn’t grow up with formal training, but I had the streets, the storefronts, the stoops, the handwritten signs, and the energy of people always reinventing themselves.

In my work, I aim to capture the raw personality of the city, not the polished version you see in movies or tourist shops, but the layered, imperfect, and authentic one. I focus on hand-painted signs, crooked awnings, cluttered shop windows, the kinds of details that speak louder than any skyline. My miniatures don’t just represent New York visually; they embody their raw emotions. Fast, loud, layered, a little messy, and always full of character.

What role does site specificity play throughout your art, and how important, if at all, is it for you to reimagine New York cityscapes with precision?

Every time I walk through the city, whether it’s on my daily walks in the Lower East Side, heading to my studio in Williamsburg, or just moving through different neighborhoods, something always catches my eye. It could be something as simple as an old ATM covered in stickers and graffiti; but to me, that’s part of the city’s visual language and identity.

Site specificity plays a huge role in my work. I take what I see and filter it through my own imagination, creating a version of New York that’s shaped by personal memory and artistic freedom. I don’t aim for strict precision; I aim for authenticity. My models reflect the grit, energy, and personality of the city.

I include elements like graffiti, weathering, and tags, using my own visual rules. For instance, I once made a miniature version of the iconic Mr. Softee truck and added my own stamp to it. Even my bodegas and corner stores often reference the 1990s, inspired by the ones I grew up around, but I reimagine them as something uniquely mine, like “Cortes Grocery.”

Your models have previously been called “time capsules.” Do you find this to be an accurate assessment of your art?

Yes, I believe “time capsules” is a powerful way to describe my models. They preserve moments in history, snapshots of communities, cultures, and everyday life that risk being forgotten or erased, especially in rapidly changing places like Brooklyn, where many neighborhoods have undergone profound gentrification over the past 30 years.

Each miniature I create tells a story, capturing not only the physical environment but also the deep emotional connections tied to it. In this way, my models become more than just representations, they serve as vessels of memory and cultural preservation.

Bushwick has undergone tremendous changes since the ’80s and ’90s. How has that evolution impacted your art, and your relationship with the neighborhood?

Bushwick raised me—it was raw, loud, and full of culture. Now, it’s changing fast. A lot of what I knew growing up is gone. That’s why I try to preserve it through my work to honor where I come from and show people the soul that’s still there.

“The Block” during an auction at Sotheby’s. (Photo: Gabriele Holtermann)

What do you hope people will take away from your work?

I want people to walk away with a sense of curiosity and playfulness, like they’re seeing the city through a different lens. My work isn’t just about nostalgia or preservation; it’s also about imagination and possibility. By shrinking the scale of something as massive and chaotic as New York, I hope to make it feel more personal, approachable, and even a bit surreal.

I hope it encourages people to pause and really look at their surroundings. To notice how the city functions not just as a physical space, but as a living, breathing organism filled with emotion, history, and constant transformation.

Danny Cortes: Website | Instagram

My Modern Met granted permission to feature photos by Danny Cortes.

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On April 15, 2023, years of tensions between the Sudanese Armed Forces (SAF) and the Rapid Support Forces (RSF) boiled over into war. The effects of the conflict, which is still ongoing, have had a massive humanitarian toll. It's estimated that over half a million children have died from famine sparked by the war, with violence and disease taking the lives of many more. As of early 2025, nearly 9 million citizens were internally displaced, with over 3.5 million fleeing the country.

Among those affected is Mosab Abushama, whose photography hobby turned into something much more at the outbreak of the conflict. After fleeing with his family to a safer part of his hometown, Omdurman, he quickly realized that life would never be the same. Suddenly, the visual diary he had kept to document his daily life had transformed him into a war photographer. Secretly snapping while volunteering at a hospital or helping to dig graves, Abushama created a shocking portrayal of the reality of war.

Returning to his home a year after he left, Abushama realized that life would never be the same. His home, along with others in his neighborhood, has been reduced to shells—spaces for family gatherings reduced to rubble. As part of his ongoing series about the war, Tadween, Abushama created photo collages to show the stark difference between the past and present.

Now living in New York to attend the School of Visual Arts, Abushama has left a powerful legacy of award-winning photography that opens up a wider dialogue about what's currently happening in Sudan. While Western news often focuses on conflicts in Europe and the Middle East, his work serves as a poignant reminder that Africa's conflicts deserve equal attention and humanitarian care.

We had the chance to speak with Abushama about his photography, what Tadween means to him, and what the world can do to help Sudan. Read on for My Modern Met's exclusive interview.

What initially drew you to photography?

It’s a hobby. Photography gave me a way to hold onto fleeting moments and as visual diaries. Over time, it became something much deeper. It became my way of witnessing, understanding, and expressing things I couldn’t always put into words.

Why was it important for you to document what was happening in Sudan?

Because if we don’t document it, who will? Not just through news headlines or politics, but through real human experiences. I felt a responsibility, especially as someone who stayed behind, to show the world what was happening, and to leave behind a trace of our voices and our lives during this time.

What inspired you to overlay your images before and after the war?

Returning to my neighborhood after a year, I found it both familiar and unrecognizable. The streets, the buildings, the sounds—they were the same, but everything had changed. I had old photos from better times, and I instinctively started placing them over what I saw now. It became a way of grieving, but also a way of remembering, of refusing to let go of what once was.

Is there a particular before and after that is meaningful to you? If so, why?

Yes—there’s an image of a quiet street where kids used to play, layered over a shot of that same street now filled with debris and silence. That contrast hit me hard. It captured not only what we lost physically, but also emotionally, the joy, the safety, the sense of community.

Has this process been cathartic or healing for you in any way?

In some ways, yes. It gave me a way to process everything I was going through. When you’re surrounded by war, you can feel numb or helpless. But, through photography, I was able to confront those emotions and turn them into something—into memory, into art, into resistance. It didn’t heal everything, but it gave me a place to begin.

Your documentary photography has given more visibility to what’s happening in Sudan. How does that make you feel? And what are your thoughts on how the conflict is being covered internationally?

It’s meaningful to know that people are seeing our reality through my lens. That recognition—like with the World Press Photo—amplifies our voices. But at the same time, I feel frustrated by how little attention Sudan still receives internationally. The world often overlooks African conflicts unless there’s a political interest. I hope my work disrupts that silence, even just a little.

What do you hope that people take away from your work?

I want people to feel something. I want them to understand that war isn’t just numbers or strategy, it’s people. Families, children, weddings, street corners, memories. If someone sees my photo and pauses to really think about Sudan—not as a distant place, but as a shared human story then that means something.

As outsiders, what can we do to help support Sudan during this time?

First of all, don’t describe it as a civil war because this gonna lets the supporters continue what they do, and the war never ends. Listen to Sudanese voices. Share their stories. Support grassroots efforts and trusted humanitarian organizations working directly with communities. And most importantly, don’t let Sudan disappear from your radar. Attention matters. Pressure matters. Solidarity matters.

What’s next for you?

I’m currently pursuing my MFA at the School of Visual Arts in New York, and continuing to work on Tadween—expanding it beyond still images into film, sound, and installations—and I want to make a book out of this project. I want to keep pushing how we tell stories from conflict zones—not just what we see, but what we feel, remember, and carry with us. I hope to keep creating work that stays honest and human, wherever that takes me.

Mosab Abushama: Instagram

My Modern Met granted permission to feature photos by Mosab Abushama.

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“Out of Reach.”

When she first embarked upon her solo journey across the United States, in January 2021, Michelle Jader expected to only be away for a year. San Francisco’s skies were painted orange from wildfire smoke and the COVID-19 pandemic was still raging throughout the city by the time she left. Feeling “emotionally and creatively caged,” the artist ended up on the road for two years, visiting art communities, staging pop-up photo shoots, and creating her own paintings across 36 states. Now, Jader’s travels are the focus of her latest solo exhibition at Robert Lange Studios in South Carolina.

Aptly named Untethered, the exhibition serves as a “visual diary of transformation” and “trust in the unknown,” according to Jader. It should come as no surprise, then, that the featured artwork also embodies the tension between familiarity and uncertainty. In these paintings, women float through blankets of fog; their limbs twist and bend, suspended in the air; they close their eyes so delicately they almost appear to be sleeping; and they dance, their actions captured as ghostly, overlapping traces. Each work is mysterious and otherworldly, recalling the color palettes of Edgar Degas and the energetic movement of Giacomo Balla.

“Movement is deeply honest,” Jader explains. “I’ve always been fascinated by that fleeting moment in mid-motion—when a body is airborne or suspended, and you don’t know yet how or where it will land.”

A body in mid-motion, of course, is similar to one in transit. In their hazy textures and dreamy atmospheres, Jader’s paintings remind us of the questions inherent in leaving home: where am I going? and who will I meet along the way? For Jader, that was the whole exercise behind her solo trek across the country. The paintings in Untethered address both these questions and their answers, where the artist says “fear, freedom, vulnerability, and strength all converge.”

“My paintings are often about those ‘messy middle’ moments,” she explains. “You’re no longer who you were, but not yet who you’ll become. It’s a vulnerable, in-between place, but you’re not alone.”

My Modern Met had the chance to speak with Michelle Jader about her creative process, her journey across the United States, and her new exhibition. Read on for our exclusive interview with the artist.

“Quiet Descent.”

What originally compelled you about painting as your primary medium?

Painting lets me explore emotional undercurrents in a way that feels both physical and authentic. I’m drawn to the tension between control and surrender that shows up in both life and brushwork. It’s the perfect medium for capturing that in-between state—when we’re suspended in motion, unsure of what comes next. That emotional limbo is where a lot of truth lives.

What is the process of creating one of your artworks, and how has that process evolved throughout time?

Each painting begins with movement—both literally and metaphorically. Once I have a theme I want to explore, I hire models and stage photo shoots to capture a figure in motion, selecting frames that evoke an emotional charge. I then paint different parts of that movement on separate acrylic panels, layering them to create a sense of dimensionality and time unfolding.

For Untethered, my solo show currently on view at Robert Lange Studio for the month of June, I brought AI into my process for the first time. I fed in imagery and ideas to experiment with new concepts for backgrounds. Later, I used AI tools to help turn my personal writing—journals, voice recordings, and blog posts—into companion songs for the artwork. It’s been energizing to work across media, blending traditional technique with modern tools to create an immersive experience.

“Rush of the Storm.”

Movement is a significant theme within your practice. What first intrigued you about it?

Movement is deeply honest. It reveals what we’re feeling even before we can name it. I’ve always been fascinated by that fleeting moment mid-motion—when a body is airborne or suspended, and you don’t know yet how or where it will land. That moment mirrors the emotional free fall we all experience during change. It’s where fear, freedom, vulnerability, and strength all converge.

What techniques do you rely upon to capture movement so successfully within a two-dimensional format?

My approach is built on layering. I use semi-transparent materials like acrylic or mylar and paint individual gestures or moments on separate surfaces. When stacked, they create an almost sculptural effect where the figure appears to hover or shift, depending on the viewer’s position.

I also use blurred edges, expressive brushstrokes, and sometimes a slight misalignment between layers to intensify the sense of motion. It’s about capturing not just what the body is doing—but what the person is feeling in that exact moment.

“Untethered.”

A few years ago, you traveled across the United States to discover the country’s art communities. How did that experience impact your creative practice?

That journey was everything. I left San Francisco during a time of extreme uncertainty—the sky was literally orange from wildfire smoke, the pandemic was isolating, and I felt emotionally and creatively caged. I put everything I owned in storage and hit the road, not knowing where I’d land. I just needed to move, to breathe, and create.

My one-year plan turned into a two-year journey as I crossed 36 states. It was a solo trip, and along the way, I met artists, visited different art communities, explored what it means to be alone, and redefined what “home” meant to me. I created while in motion, held pop-up photo shoots in unfamiliar places, and captured emotions I didn’t know I had until they emerged in paint. That experience shaped Untethered—not just as a body of work, but as a visual diary of transformation and trust in the unknown.

“Somewhere I'll Be.”

What do you hope people will take away from your work?

I hope viewers feel invited to pause and reflect on their own experiences with change. We all go through moments of transformation—some chosen, some forced—that can give us strength and resolve, but more often leave us disoriented or undone. My paintings are often about those “messy middle” moments, both the surrender and the struggle when you’re pushing through. You’re no longer who you were, but not yet who you’ll become. It’s a vulnerable, in-between place. You may not know the next step, and you’re certainly not in control—and that can feel terrifying.

But you’re not alone.

We all pass through that space at some point in our lives. My hope is that when someone stands in front of a painting, they feel seen and understood. That they recognize themselves in the motion, the emotion, the ambiguity—and in doing so, feel a quiet strength or a sense of connection. If someone looks and thinks, “That’s how it felt” or “I’ve been there too,” then something beautiful has happened. That moment of resonance, that shared humanity—that’s the real magic for me.

 

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Do you have any exciting projects coming up?

Yes! I’ve returned to Charleston for my June 2025 solo show Untethered at Robert Lange Studios, where this whole journey began during an Artist Residency. The exhibition features my most personal and experiential work to date—layered paintings created from the experiences of my journey and featuring AI-assisted companion songs based on my own journals from the trip.

Each painting has a QR code so viewers can listen to the song that matches the emotion and story behind the work. It’s a multisensory invitation to step inside the journey—not just mine, but maybe their own as well. Whether someone is navigating change, rediscovering themselves, or simply searching for grounding, I hope this body of work becomes a mirror. One that reflects both the vulnerability and the strength we all carry as we move through the unknown—layer by layer.

Exhibition Information
Michelle Jader
Untethered
June 2025
Robert Lange Studios
2 Queen Street, Charleston, SC 29401

Michelle Jader: Website | Instagram

My Modern Met granted permission to feature photos by Michelle Jader.

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Neil DeGrasse Tyson, 2015

For the past decade, photographer Felix Kunze stepped inside the prestigious world of The Explorers Club to document its accomplished members. The multidisciplinary club, formed in 1904, celebrates field research in all its forms and counts astronauts, archeologists, and intrepid adventurers among its members.

After photographing an event with the club, Kunze asked permission to set up a small studio at their annual dinner, and the rest was history. Since 2015, he has been photographing everyone from Apollo astronauts to fashionable Egyptologists, thus creating a visual of the great explorers of our time.

His portraits capture the unique personalities of his sitters, many of whom have become familiar faces, or even friends, over the years. We had the opportunity to speak with Kunze about this fascinating portraiture project and what it means to him. Read on for My Modern Met's exclusive interview.

Justin Fornal, 2025, wearing a headdress and body armor created from the dried specimen of a 14-foot Nile Crocodile. Justin’s work focuses on vanishing cultural traditions in conflict zones.

How did your love for photography develop, and what drew you, specifically, to portrait photography?

Photography has always been the best way for me to connect with other people; it’s the best way to network. I tend to put people on a pedestal. I just assume everyone must have a fascinating background. So, I tend to look for strength and fortitude in my photographs.

Early on, I realized I was more suited to portrait photography than fashion or photojournalism. I was passionate about science and exploration even before this project, and photographing these explorers only deepened that passion.

My goal has become to humanize science and exploration by showing that each discovery comes from real, relatable people.

Buzz Aldrin, 2019

Microgravity researcher Kellie Gerardi, 2019, wearing a spacesuit designed for use during launch, reentry or mission abort.

How did you first come across The Explorers Club, and what pushed you to want to work with them?

I first encountered The Explorers Club in 2014 while photographing an event at the club. I was immediately fascinated by the people I met, and I knew I wanted to highlight them through portraits. Convincing the organizers took some persistence: I asked for a small corner at the Annual dinner (held that year at the Museum of Natural History). I set up a small studio area entirely at my own expense, and the rest is history. It was a gamble that kicked off this decade-long project.

Erick Cedeño, 2025, known as ‘The Bicycle Nomad', wearing a Fjällräven arctic jacket.

Simon Wong, 2025, skied from Cambridge Bay to Gjoa Haven, both in the northern reaches of Canada.

What was your initial experience like photographing these explorers, and how has it changed over the years?

The first time I shot at the Explorers Club Annual Dinner, it was a bit of controlled chaos – in a good way. I was photographing anyone who agreed and managed to snag a portrait of Neil deGrasse Tyson, who was that year’s guest of honor.

We were set up in a tiny corner of the museum and learning on the fly. Over the years, it’s become much more streamlined: now I have an incredible team running the studio, and we can crank out a portrait every two and a half minutes. From the very beginning, I aimed for a “classy, timeless, simple” look so that all the portraits fit together over the years.

Atlee (age 7), 2017

Surviving Apollo astronauts, 2019. From left: Charles Duke (Apollo 16), Buzz Aldrin (Apollo 11), Walter Cunningham (Apollo 7), Al Worden (Apollo 15), Rusty Schweickart (Apollo 9), Harrison Schmitt (Apollo 17), Michael Collins (Apollo 11), Fred Haise (Apollo 13)

Is there anyone that you particularly look forward to photographing during the event?

Honestly, I look forward to photographing everyone because each person brings something unique. I’ve been fortunate to shoot some famous explorers, but it’s often the unexpected moments that stick with me. For example, a 7-year-old girl named Atlee came in wearing a homemade astronaut suit.

Or the time I got to photograph eight of the remaining Apollo astronauts, including Buzz Aldrin and Michael Collins, all in the same photograph. What an honor!

Moments like that are priceless. I also enjoy catching up with repeat subjects… Paleontologist Johnny Waters once told me our photographs of his team and his work “opened more doors” for their work than any other science outreach. Hearing things like that always makes me excited to see who I’ll meet next year.

Wildlife Ambassadors Robert and Katie Haynes from Earthquest with Mark Fowler, Chair of the Explorers Club Wildlife Committee (2025), posing with Macaws and Cockatoos.

Explorers Club Members Jedidah Isler Phd, Jennifer Lopez, Dr Ayana E. Johnson & Rae Wynn-Grant, PhD, 2019

Your long-term relationship photographing the event really seems to have allowed you to forge strong relationships with certain participants. How has this helped with your sessions?

It’s been a huge advantage. I consider it a gift to be embraced by this community, and many of the explorers I photograph have become like old friends. It’s an interesting dynamic. There are people I’ve photographed for a decade but never shared a real conversation with. And yet I feel I KNOW them and we trust each other. Because of that trust, our sessions feel very natural. By now, many people remember me, and I know how they post, so they relax in front of the camera.

Egyptologist Colleen Darnell, 2019

John and Colleen Darnell in the field.

Any memorable story from the Explorers Club that you’d like to share with us?

This project has given me some incredible opportunities to join scientific expeditions. One that will always stand out to me is the work I got to do with the fabulous Egyptologists Colleen and John Darnell. Colleen’s popular Instagram account, @vintage_egyptologist, speaks for itself, but joining them on an expedition in Egypt was fascinating. From learning about ancient science from carvings (which give us an insight into the early development of written language), to photographing the team, it’s been absolutely inspiring. Getting to sneak in some glam images of just the two of them was only a bonus!

Influential marine biologist Sylvia Earle, 2023

What do you hope that people take away from this work?

My purpose is to elevate the standing of explorers and scientists through photography.

I think we’re in a trust crisis where people see headlines about science and discoveries, or even stories about health that seem untrustworthy. Yet there are real people behind these stories; they don’t just happen in isolation.

I want to celebrate the ever-evolving spirit of human curiosity. If viewers feel inspired by these images or gain a deeper appreciation for the work, then I’ve done something meaningful.

Felix Kunze: Website | Instagram | Facebook

My Modern Met granted permission to feature photos by Felix Kunze.

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Many women learn to hold back their emotions—not due to a lack of strength, but because society has taught them to navigate expression carefully. This idea is captured in the work of Turkish artist Zarife Gizem İbrahimoğlu, whose portraits of women convey subtle emotions and a quiet strength beneath composed expressions.

İbrahimoğlu draws inspiration from Eastern culture, textiles, and traditional art, often painting her subjects in kimonos or surrounded by patterned fabric. Her interest in East Asian craft and design grew during her time at Studio Ito Design Milano in 2015, where she worked closely with Japanese designers. Later, between 2015 and 2019, she continued exploring these influences at Imrahor Istanbul, where she had the chance to study Eastern fabrics, furniture, and craftsmanship up close. These experiences continue to shape her work, with recurring symbols and details that reflect what’s inspired her along the way.

İbrahimoğlu’s work is not only visually striking; each painting also tells a story. Working with graphite, charcoal, and acrylic paint, İbrahimoğlu creates portraits of women she sees as extensions or reflections of herself. Through each piece, she aims to capture a range of emotions, with a particular focus on the emotional shifts and inner experiences that women navigate in today’s world.

We caught up with İbrahimoğlu to find out more about her influences and life as an artist. Check out her stunning paintings below and read on for My Modern Met’s exclusive interview.

Artist Zarife Gizem İbrahimoğlu’s stunning portraits of women capture their subtle emotions and quiet strength. Read on to learn more about the artist’s work.

How did you first get into art, and how did you discover your unique style?

Painting was my favorite thing to do since I was a child. But for a long time, I didn’t see it as something I could truly pursue, so I chose a different path and became an interior architect. I worked in that field for years, but something always felt missing. Over time, I realized that painting was the only thing I truly wanted to do. Returning to art didn’t feel like a choice—it felt like remembering who I was. My style came naturally during that process. The more I stripped things down, the more clearly I could hear my own voice.

Your art often explores emotions and psychological changes in women. How do you choose which feelings or states to show in your work?

They choose me, actually. I’m drawn to what’s unspoken—emotions that society often encourages women to suppress. Sometimes it’s longing, sometimes rage, sometimes that eerie stillness after heartbreak. I try to capture these moments without softening them, because there’s power in their honesty.

Do you see your art as a way to reflect on yourself or as a message about bigger social issues, especially related to women?

In many ways, it’s both. My work often begins from a deeply personal place, but I’ve come to realize that those feelings often resonate with many other women as well. For a long time, women’s inner worlds have either been overlooked or overly idealized. Through my art, I try to make that space visible—honestly, with all its complexity, contradictions, and intensity. In a way, it’s my way of remembering a sense of belonging—both for myself and for others.

How has Eastern culture influenced your art, particularly in your approach to creating portraits?

Eastern aesthetics taught me the power of restraint and imperfection. I’m fascinated by philosophies like wabi-sabi—the beauty of the incomplete, the quiet, the transient. In portraiture, this shows up as intentional asymmetry, muted tones, or the choice to leave parts of the canvas “unfinished.” These absences speak as loudly as the brushstrokes.

Your work has a lot of symbolism. Can you explain what the symbols mean to you and how they fit into your art?

For me, symbols are visual expressions of emotion. I’m especially inspired by Japanese techniques like shibori and sashiko.
In shibori, the fabric is folded, twisted, and bound, then revealed with patterns that are both intentional and full of surprises. I approach my figures in a similar way, adding symbols that are sometimes obvious, sometimes hidden, and meant to be discovered over time.

Sashiko’s repetitive stitching reminds me of healing, patience, and quiet strength. I try to carry the spirit of these techniques into my work, creating space for the viewer to find their own meaning in the details.

What’s your process like when you start a new portrait? How do you bring your ideas to life?

It always begins with a mood, not a face. I build from an emotion, sometimes just a sentence or a piece of music, and let the composition form around that core. There’s a lot of layering, scraping back, redoing. I don’t chase perfection—I chase presence. When the painting starts “looking back” at me, I know I’m close.

Do you have any upcoming projects or exhibitions you would like to share?

Yes—and I’m genuinely excited about this one! I’ll be showing my work at VOLTA during Art Basel week this June. It’s a major step for me in terms of sharing my art on an international platform and connecting with a wider audience. Some of the pieces I’ve been developing for a long time will be unveiled there for the very first time. The energy is high, and I can’t wait.

Zarife Gizem İbrahimoğlu: Gallery | Instagram

My Modern Met granted permission to feature photos by Zarife Gizem İbrahimoğlu.

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You might know Steve Wilson by his glasses. The art collector and entrepreneur dons bright red eyewear, a constant on his popular Instagram account, as he shares illuminating interviews with contemporary artists, including Bisa Butler and Hank Willis Thomas. Within each vignette, Wilson is in the artist’s studio, at an exhibition, or purchasing original art at fairs like Art Basel Miami. As a viewer, we come away with an understanding and appreciation for an artist and the meaning behind their work. What’s also evident is Wilson’s passion and curiosity for art. It’s infectious.

Wilson is now known as a prolific art collector, but that has come later in his life. Although he has always loved art, discouragement in his earlier years caused him to pursue other paths. Once he met his second wife, Laura Lee Brown, they started to collect art together. With a current collection of over 5,000 pieces, the massive assembly inspired them to develop 21c Museum Hotels. The first hotel of many was in Louisville, Kentucky, where Wilson lives. It features artwork everywhere within its walls—even down to the bathrooms. (21c Museum Hotels was recently sold to a hospitality brand, but Wilson still provides the artwork.)

No matter the project, Wilson wants to bring art to people who might be too intimidated to visit a museum. He wants to show that art is an important part of our lives and is for living with.

We chatted with Wilson and Edward Heavrin, who films and edits Wilson’s videos. Scroll down for My Modern Met's exclusive interview.

Learn more about Steve Wilson, an art collector and entrepreneur who shares artist studio visits, art fairs, and more on his popular Instagram account.

 

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Your father said art was useless, so you sought to prove him wrong. How did that propel you to what you're doing now?

You know, I didn't set out to prove him wrong at that moment, but it's funny how later on, I look back on my life and career. I was always a creative kid, and I was the oldest son of a farmer who didn't know what to do with me, really. I went to Murray State University, which was local and close enough, my dad wanted me to come back home and work on the farm on the weekends. And so I enrolled as an art major, and then I had another experience that was discouraging. My drawing teacher tore my drawing up in class and told me I didn't belong there. So that got me moved to psychology, but I was always interested in art. And as I grew older, I realized that art was really an outlet for me.

Life without art would be a pretty miserable existence. So art has really been a therapy for me, I would say. But my wife and I are both in our second marriages, and she was collecting art when we married, and so our love of art and travel drew us together, and that's when our contemporary art collecting really got kicked off.

 

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A post shared by Steve Wilson (@steveredglasses)

What has been your favorite piece that you've collected, or one that's the most memorable?

Well, I think the collection is over 5,000 pieces now.

That's a lot of pieces to collect. How many pieces do you acquire in a year?

That's hard to say as well. We have had a budget, and it depends on how much we travel. We love to travel. So we often go to the Venice Biennale, and we go to Basel, Switzerland. And I don't think we missed a Basel Miami, one of us, at least, since it opened. So I would say Hank Willis Thomas is a favorite right now. Kehinde Wiley, I really love his work.

When I'm in Art Basel in Miami, I'm always pushing and shoving to be in the front. So people always ask me, why is that? But invariably, there's something that I love right off the bat, and often it's already sold, so I'm always anxious about that. But anyway, the Kehinde Wiley I saw a rush in, and it was right in the middle of the fair. It was the image of a Black man on a white horse, similar to Napoleon. And of course, it was sold, and it was purchased by the Brooklyn Museum, and it's still in the lobby there. So that was my very first sight of the Kehinde Wiley. We have several of his works, and we have one of his first bronze sculptures, a female image with a large, elaborate hair arrangement. That was actually an image from one of his paintings, as well, when he moved into the series of women.

 

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Let's talk about your Instagram. You have a lot of followers, and you have a lot of conversations with artists. How did that come about? 

I have to say Edward [Heavrin] is a big part of that. Edward and I've been friends forever, and we did a lot of videos at the 21c Museum Hotels. He followed us while we developed Durham, and it included other snips and pieces from Cuba and other places. So Edward has a real ability to express me.

You feel like it's important to compress things so that people get a message, but they lose their attention. I've been amazed at the success of Instagram and I think I have 355,000 followers now, but some of the Instagrams get millions of views.

 

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Going back to talk about 21c Museum Hotels, what was the inspiration for the first one?

The collection was getting too large to hang everything at home, and we do live with art at home. The idea of 21c grew out of the fact that we wanted to share our art, and we want people to understand that art is to be lived with and not just viewed behind the velvet rope. We're very much dedicated to living artists, and we named the company 21c to represent the 21st century and try to help people understand that things that are contemporary and modern are different.

Most of the 21cs are restored older buildings that we've been giving a new life to. And they have lobbies to show the art, and we have art in the restaurants, and also the restrooms.

Some people come to the hotel expressly because they know the art is there. And other people check into the hotel and are surprised to see so much art. One man in Bentonville said he didn't really understand it all, but he thought he was a better person for staying there.

 

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You're making art more accessible through the hotels and by sharing artwork on your Instagram. Can you tell us more about that?

I think some people are intimidated by going to a museum. They think that they don't know how to act. There's a lot of work being done now about the “museum of the future,” and during COVID, especially, people stopped going to museums. I think they've struggled to get people back to the museum. And the ones that I know of personally have had, you know, a bunch of problems, and they've had to increase their ticket prices and reduce staff. I think they are thinking about new ways of making sure that art is a part of our lives, and that's important to me.

Interview has been edited for length and clarity.

Steve Wilson: Website | Instagram

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Germany-based botanical watercolorist Victoria Beyer has dedicated her life to studying and painting flowers. Her vibrant illustrations capture the delicate nature of these blooms, and it almost feels as though her works are about to leap off the page. Part scientific study, part artistic practice, her process involves real-time observation of plants to create the most true-to-life representations.

Thankfully, she also enjoys teaching and sharing her knowledge with others. In her newest online class, Botanical Watercolors: Learning to Paint Realistic Flowers, Beyer teaches the basics of botanical study, including dissecting plants and identifying different parts of them. She also gives students tips and tricks to working with watercolor that can bolster confidence within the medium.

Beyer also teaches how to translate the unique lines of individual flowers from real life onto the page. Students will learn these lessons early on in the online course, and then they will move on to drawing their own composition of tulips and daffodils. This is the perfect combination of flowers to practice botanical observation, drawing, color mixing, and application. Finally, Beyer explains finishing touches and gives pointers on cleaning up the botanical illustration.

Although Botanical Watercolors: Learning to Paint Realistic Flowers won’t be released to the public until May 20, students currently have an opportunity to enroll early and save. During the pre-sale period, you can save 10% off the normal retail price of $34.95 by using code botanicalart10 at checkout, and, once the course is released, you will find all of the lessons ready for you. The best part is that they’re on demand, meaning you can watch at your leisure and revisit lessons as often as you’d like.

Ahead of the course release, we had the pleasure to chat with Beyer about what drives her to create such stunning botanical artworks. Read on for our exclusive interview and get inspired by her incredible practice and work.

How did you get your start with art?

Art has always been part of my life. By the time I was 6, I was already doing Disney character commissions for my classmates. I didn’t study art in college, I wasn’t allowed to. Instead, I got a bachelor's degree in construction engineering. But in my 30s, I decided to pursue my calling, which was painting, and I haven’t stopped. I’m 42 now.

What attracted you to botanical art illustration, especially in relation to watercolor?

I was really amazed at how botanical artists could create such bright and realistic illustrations with watercolor, a medium known for its flow and typical pigment stains. I thought, “I have to take on the challenge and master it myself.”

Do you have any artists specifically who have inspired you?

Yes, I do! These artists have inspired me in different ways, from the way they approach their practice to the challenges they have faced to their unique style. Like Ursula Romero with her big modern leaf portraits and blue flowers, Billy Showell and her creative compositions, or Dianne Sutherland’s journals.

You mention the Old Masters a bit in your new course. Do their works influence you in your practice?

Absolutely! While I don’t try to paint like them, they do influence my practice. I enjoy reading art history, especially botanical art history. Reading the life and work of Georg Ehret, Linnaeus, Redouté, or Maria Sybilla Merian has given me insight into what it meant back then to be a botanical artist. The dedication they had has been really inspirational to me.

What was the most challenging part of working in watercolor for you when you started, and what challenges you now?

When I started with watercolors, I didn’t take a course. I tried to figure it all out on my own, and I think that made me lose time. How do you teach yourself if you don’t even know what you’re doing? My color mixes looked muddy, even when I thought I was using the right pigments, and my washes didn’t behave the way I wanted them to.

What challenges me now has nothing to do with technique. The challenge today is more about the message behind the work. I've been studying orchid behavior and the hidden parallels between their adaptation strategies and human ones, specifically how neurodivergent (ASD-ADHD) women adapt socially.

It’s been a welcome challenge, but still a challenge. I work from my own experience and that of other women, and I clearly see how, in orchids, some species rely completely on mimicry to survive. For example, an orchid might imitate the appearance of a bee to get pollinated. If it didn’t, it simply wouldn’t reproduce. Others can’t afford the energy to produce nectar, so they offer perfume instead, or copy another orchid to attract pollinators.

Likewise, the neurodivergent woman has to adapt to this society. She often doesn’t have the energy or the ability to meet all the expectations placed on neurotypical women, so she learns to mask. She learns how to present herself in a way that allows her to function in a world that isn’t really designed for her, and that comes at a cost. This is the challenge now, to represent this in a way that can reach the viewer and to give more visibility to the subject.

What is your favorite part of your artistic process?

I think the study is what I enjoy the most. Dissecting a flower, learning the names of every part, and deciding my color mixes. It feels like playing. But also, you really get to know the plant—it’s a very intimate way of working, and if you’re a sensitive person, you really get to feel your plant, and come to respect and care for it. I mostly work from live plants in pots or in gardens. If that’s not possible, I get them as cut flowers. My last option is working from pictures, ideally not for the entire project. I do take pictures of my plants to consult later, just in case. But I end up not needing them. I’ve collected around 3,000 reference pictures!

What prompted you to begin teaching your art to others, and what is your favorite part about teaching?

It’s how my brain works: when I know something I find fascinating, I make it my mission to let others know. I used to teach in person, and it was so rewarding to see others' improvement and see how they enjoyed it and felt accomplished.

I’ve never understood people who keep knowledge to themselves. Unfortunately, I can’t speak German very well as my first language is Spanish. I do my best to speak English, so those are the languages I can teach in. I hope one day to do in-person workshops again.

Do you have any advice for people who are starting out with watercolor or botanical illustration?

I’d like to say, don’t get discouraged if your first try didn’t work out as you planned. Most, if not all, botanical artists spent years of hard work and practice to get to the level they are at. It’s like a sport, where you need to train constantly. Even I can feel it when I haven’t touched a brush in a couple of weeks, and I’ve been painting botanicals for around seven years!

What do you hope that people take away from your new class with My Modern Met Academy?

I hope that people get a taste of what it means to work from live plants. It is such a healthy practice and you feel close to nature this way. It's even better if you work while in your own garden or from your potted plants. Discovering the intricacies of a flower can be mesmerizing and inspiring. It also makes you respect nature even more, and I think we’re in need of that.

Any final messages for our readers?

The only courses I offer are through My Modern Met Academy, but if you ever want to reach out to me to talk about botanical art and the practice, or if you ever wish to commission a piece inspired by your own memories and experience, you're more than welcome to write me directly to my email hello@victoria-beyer.com or Instagram @Victoria.beyer.artist and @Victoria_botanical.

Victoria Beyer: Website | Instagram | Instagram

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