In your reflections on form, you describe harmony as the integration of multiple forms into an overarching unity; how do you approach composition so that this unity emerges organically, rather than appearing as a predetermined symbolic scheme imposed upon the canvas?
In nature, many forms are present in a single creation and are harmoniously connected. Therein lies my observation about the democratic use of forms. Harmony arises through adaptation and a certain tolerance.

The idea of transformation appears as a central metaphor throughout your work. How do you conceptualize transformation not merely as a visual effect, but as a philosophical principle, and how does this idea relate to broader questions of perception, reality, and possibility?

A transformation initially implies a technical conversion. This photographic artwork, created through this conversion, is no longer a mere depiction of a fleeting moment of perception, but rather a sensory representation of a possibility inherent in the photographic material, thus allowing for a new and different perspective on photographic reproduction.The symbolic meaning shows a not-yet, something that is potentially existing within the sensually actual.

Howard, in the works gathered in ICON, one encounters an insistence on the image as an unstable perceptual event rather than a fixed representation. Could you speak about how your layered constructions challenge the classical photographic index, and whether you see Techspressionism as a critique of the camera’s historical claim to objectivity?
When I speak of layered constructions, I mean images built from a photographed base that are then deliberately overlaid, remapped, or physically altered. The altered image enables a single fixed moment to present as an ongoing perceptual event. These procedures make visible the gap between a camera’s raw capture and the full, lived experience of seeing: memory, affect, display conditions, and allow individual perceptions to become part of the picture rather than the picture being just in the viewing background.

Vian, your paintings declare themselves as visual poems, which suggests not illustration but a transfer of poetic logic into pigment. What, for you, is the equivalent of syntax in painting: the cut, the line break, the enjambment, the caesura, the moment where meaning does not resolve but deepens through suspension?

Beautiful question. As a visual artist and an award-winning poet, I have always wanted my work to carry a lyrical flow and be presented to the world much like a poem: suggestive, mysterious, yet rich with substance and meaning. The syntax in my painting is not found in literal commas, pauses, or grammatical shifts, but rather through imagery, composition, balance, movement, and, of course, color theory.

 In your opinion, what role does the artist have in society? 

 That’s always a tough question. Because I think the exact answer will always be shifting in response to the current energy of society. There are so many factors like the current political or social state, that are forever reshaping that energy. But right now, I firmly believe maintaining resilience and earnestly creating in response to everything happening right now is so so important. The world feels like it’s on fire, and people sincerely need art more than ever.

What art marketing activity do you put into practice regularly that works most successfully for you?

I try lots of different ways or getting my work out there; entering competitions, renting billboard space (for example we have ArtBelow on the London underground network where you can take advertising space to show your work) or applying to those kinds of opportunities that are a bit more unusual. But Instagram has been the best way to get exposure and connect with people all over the world. For me there is a bit of wariness in putting everything online but Instagram art followers generally seem to be very positive and I get some really lovely comments when I post, it’s great.

How do you see your work evolving in the future? Are there any new techniques or mediums you're eager to explore?

The theme of my work will absolutely evolve as I move through new experiences, giving my subconscious more material to work with. I can’t wait to see what these will be! Creativity is essentially problem solving, and as I continue to explore my practice new techniques will develop as I resolve these. Currently I’m experimenting with creating my own blacks without using any black paint. So far, the results have been very exciting, taking my down new pathways of using paint.

What themes or concepts do you explore in your artwork, and why are they important to you?

My Art world is past-oriented, I like to fuse it with the reality of our current/modern society. I explore the multiple facets of the human species highlighting the individuals emotions of the characters as well as the representation of the human condition. The complexity of the human being is an indefinite subject and I basically invite people to question the norms and conventions of our society.

Can you tell us about your artistic journey and what inspired you to become an artist?

I commenced taking film photography in 2013 and initiated creating in the darkroom from 2022.

There wasn't a specific moment when I decided to become an artist; I naturally drew pictures since my early childhood. Although I grew up with four siblings, I often felt a sense of solitude.At night, I would gaze at the stars from the balcony and craft stories using my imagination. Art is my closest companion, a reflection of myself, and one of my life activity of my life for survival.

How do you balance the commercial aspects of being an artist with staying true to your creative vision? 

I don’t care what I should paint, what topic is trendy, or what is Pantone’s colour of the year. I take my imagination very seriously and only creating on my own terms makes sense to me. I also don’t abandon cartoon animation. I am lucky that I can function in two professional roles. Many other artists are trapped in just one. 

Can you tell us about your artistic journey, and what inspired you to be an artist?

I met three soulmates – Emma, Kevin and Angus – during my year at Tramway  Portfolio Classes in Glasgow. They were the catalyst and the inspiration, and they still  are to be honest. There’s so many stories from the beginning but they’re the best  foundation I have and their at the root of the artist I am today.  

How do you find inspiration when faced with creative blocks or challenges in your work?

I rarely run into creative blocks. I have skills and strategies that allow me to be creative on command. 

Technical challenges are a different matter. These issues require research and time. Sometimes, I can only resolve them with inspiration, which I often find in hardware stores. The cogs in my mind spin every time I visit as I daydream about using all the tools and making things with the materials.

Please tell us more about your background and how you began creating art?

I have written poetry since my early youth, when a certainty emerged within me: that I would paint and write – at some point. In high school, our art teacher suggested that I paint with oils, and that’s what I did. I also did some oil paintings while studying in the Faculty of Medicine at the University of Oulu. After finishing my degrees in specialist medicine, psychiatry, and psychotherapy at the end of the 1990s, I spent more time painting and writing. Now I’m a full-time artist.

Where does your interest in art originate?

My interest in art initially was inspired from my family, as my great grandparents, grandparents and parents were great collectors of Chinese ink art, antiques and ceramics. Since young, I have always enjoyed contemporary art and design. I have been visiting ArtHK, before it become Art Basel in 2013, and developed a keen interest from there.

Timothy Carter is a steel sculptor creating minimal and figurative steel sculpture. Beginning his relationship with steel over eighteen years ago, he developed a deep esthetic connection with the medium. He believes that his art invokes a private conversation with the viewer, elevating the human experience.  His art installations have been viewed all over the globe.  Some of his most prominent work has been installed across the United States and abroad.

Emerging art is a tricky thing. How are you able to identify potential?

It is all about “educating the eye”. You have to see art constantly, visiting art fairs and galleries in several cities, going to museums, navigating in art portals...after that training, you identify potential at first glance.

What first inspired you to start collecting art?

It was in 1999 while I was living in Cologne. There, I met a collector who brought the works of Jörg Immendorff, Markus Lüpertz, A. R. Penck etc. to my attention. This is when the torch paper was lit and I started to explore these artists, researching their background and artistic works. I started looking for artwork I could afford because my budget was, at the time, fairly small and limited.

What inspired you to focus on painting colorful portraits of famous individuals?

Is there a particular aspect of their personalities that draws you in? In the portraits painted by me are people with a very strong personality to whom I have a special sympathy.An individual's personality is for me like a mask that I feel, I study and I try to reproduce in my own style with the help of fluid organic forms and colors of the solar spectrum.To create such drawings it is necessary to reach a maturity of your artistic style, to master it very well and to use it with the precision of a surgeon.

Your work displays a unique style. How would you describe your artistic style,  and what influences have shaped it?  

In my personal opinion, the most distinctive feature of my expression is still the fusion of abstract and figurative expression through digital processing. I think this tendency has become particularly strong recently. During the pandemic period, I was thinking so much about the dependency between humans and invisible microbial creatures like viruses. This led me to create the series "Neo Primitive Life" and "Parasite", which are about fictional micro-organisms. I have a strong desire to pursue an invisible world that is continuous with the world we live in. The ultimate goal is to be able to recognize that we are part of nature in an intersubjective way. Although it is a very difficult task.  

How do you stay motivated and productive in your art practice?

I need to get my creative juices going in order to paint or draw. I remove my clothes, turn on some sensual music, and meditate for about an hour. Sexual arousal helps a lot. Just being honest. I also bathe my body in sunlight during this time. Sunlight speaks to me and greatly empowers the creative process. It sets up and fuels the fire in my mind. I also draw images, color, form, and texture from the fabric of music.