musetouch_issue_11

musetouch 

Visual Arts Magazine 

June 2011 

Kiyo Murakami 

Prayer 

Mary Jane Ansell 

The Beauty of 

Hours 

Chris Berens 

My Second Dimension 

Paola Ruggiero 

Tom Przondzion 

Nathalia Suellen 

Olga Boris 

Sara G. Umemoto 

Chris Duffy 

Lara Zankoul 

musetouch.org

Dear readers, 

Last night I suddenly got sad. There was no special reason, I just felt sadness... a deep one. 

It came out nowhere. It was hugging me like a passionate lover, without letting go. Some 

friends of mine were looking for me, supporting me as always, and telling me the same eternal 

advice...stay positive, think positive, write positive, paint positive, be positive...positive, 

positive...and everything will be just fine. 

What is so wrong with sadness? Why are people avoiding that emotion, why are they so 

afraid of it? Staying away from sad people...as if they are sick, maybe even insane! Isn’t it 

true that some of the most beautiful creations in art came from out of the deepest sadness... 

Dante wrote regarding unrequited love, that Beethoven, my favorite composer, created his 

most wonderful music, because of feelings of sadness and passion that he couldnt release by 

being with the person he was in love with. Unrequited love... again. 

What about Van Gogh...tortured by sadness, obssesed with a love he never reached, fighting 

with pain...creating masterpieces...the most beautiful paintings ever. 

Sadness has proved to us that it should exist, that it must exist no matter how hard it is and 

how painful it is to live with it. It has its place in the world, its throne. 

I will reveal to you a secret...Musetouch came out of sadness too. 

My heart and thankfulness goes to Ljiljana Bursac, Jelena Grujic, my Nini Baseema, Kiyo 

Murakami, Murielle Mirabelle Velay, Ian Furniss and two dear friends, the great artists 

Mark Sadan and Gines Serran. 

Maia Sylba

Painting for Sale 

Waiting for you , New York 2000 

by 

Gines Serran www.serran-paganart.com 

For more details please contact Maia Sylba 

at maiasylba@gmail.com

Layer Studios is offering beautiful web sites, online galleries and 

presentations, blogs and FB fan page designs, at affordable 

prices, uniquely designed by Maia Sylba 

contact: maiasylba@gmail.com 

skype: maiasylba 

www.layerstudios.net

KIYO MURAKAMI 

photography 

www.kiyomurakami.com 

Atelier Winckler 

concept art & illustration 

www.atelierwinckler.com

Murielle Mirabelle Velay 

art 

www.mirabelleart.com 

THE FORM OF 

BEAUTY 

blog 

by Nini Baseema 

theformofbeauty.tumblr.com

MUSETOUCH MAGAZINE June 2011 

Editor 

Maia Sylba 

Graphic designer 

Dejan Silbaski 

Contributors 

Nini Baseema 

Ian Furniss 

Cover 

Benita Winckler 

MUSETOUCH is a magazine about visual arts. It has been created by Maia Sylba out of a love and passion for 

art with the hope that people will be able to use the publication and website as a platform to showcase their 

skills and gain recognition. 

Facebook 

facebook.com/musetouchvisualartsmagazine 

Twitter 

Linkedin 

Mail 

twitter.com/musetouchmag 

linkedin.com/in/maiasylba 

maiasylba@gmail.com 

Submission Guideline 

If you want to contribute to the next edition, you can send us an email with your data and a PDF file that 

shows your works, also a link of your website if you have any. 

We would love to see your art so don’t hesitate to contact us and welcome. 

All artwork in this magazine is copyright protected under the MUSETOUCH Magazine brand or remains 

property of the individual artists who have kindly granted us permission to use their work. 

musetouch 8

Olga Boris 

The Muse 

Kiyo Murakami 

Prayer 

Paola Ruggiero 

A Visual Echo 

010 

254 

Tom Przondzion 

Somewhere Deep Inside 

070 

Nathalia Suellen 

The One who Creates Dreams 

Chris Duffy 

My Name is Red 

300 

102 

Chris Berens 



Digital Narrative 

324 

Mary Jane Ansell 

The Beauty of Hours 

166 

Lara Zankoul 

Escape 

356 

206 

388 


Olga Boris The M 

“Olga Boris is the collaborative name for the work of Boris & Olga Sargina from Tyumen, Russia. 

In describing their work, I feel it would be overly simplistic to say that this is ‘Fine Art’ or ‘Erotic 

Art’ as this would be an injustice to expression which transcends any single category. Technically, 

we can talk of a beautiful use of shadow and light, the use of black and white tones, exquisitely 

highlighting shape and form at a sometimes minute level, but there is so much more here than 

just technique. From the finely detailed texture of ‘Absinthe’ –an image that glistens and tingles 

through every pore and hair of your skin - to the serene complexity of 03/07/2009, there is a passion 

and appreciation of the senses you can almost feel and touch. An invitation to explore each 

image, not only with your eyes, but with your whole being. 

In creating these images, Olga and Boris shows us that beauty is so much more than the just 

curve of a breast, the shape of a body, or the fleeting glimpse of an intangible moment. It is a 

quality that pervades every sinew and fibre of our being. It breathes in our soul, and it drinks in 

our heart. It dances in the light, and glides through the shadow. It is our muse, it is our life.” 

Ian Furniss 

musetouch 10 

photosight.ru/users/241485/ 

borman1957@gmail.com

use 

musetouch 11



























































Paola Ruggier 

Art for Paola Ruggiero is the mysterious magic that allows a person to body forth his inspiration, 

A sort of alchemical process in which the feminine resumes her place, which had been 

usurped during the times of patriarchy, 

Paola in her paintings realizes the image and recounts it, by means of symbols, to the observer. 

In this way the mount becomes a sort of warp, where the material constructs the woof and 

the weaving where the composition will create a tapestry that is fascinating much in the way 

frescoes are when corroded by time and weather. 

This effect of an archaeological find is reflected in the show “Inside the circle”, that Paola 

had in mystical Assisi in 2008. In these most recent paintings, the material of the mount has 

been refined, lightened...we no longer have the rough surface that was a visual echo of plaster 

wrecked by corrosion. The material in these last paintings is simply a light cloudy tonality that 

allows us to glimpse the form; the effect is of a phenomenon that is a go-between, halfway 

between the reality of the observer and the irreality of what is represented. 


paolaruggiero.com

o A Visual Echo 

chevalfineart.com 
































Nathalia Suelle 

Nathalia Suellen is a digital dark artist, born and raised in Rio de Janeiro, Brazil. She discovered 

her passion for digital art and photography in 2008 and since then she has began her 

journey as a self taught artist, mainly focused on macabre and dark imagery. At only nineteen, 

she started her own business, Lady Symphonia Digital Art and consequently, taking her 

first clients which allowed her to improve and challenge herself. Her strange and emotional 

dark vision drew attention from a great public of artists, photographers, clients and admirers 

worldwide. 

Nathalia’s artworks portray a dreamlike world with use of enchanting lighting and dark elements, 

always capturing the most intense and dramatic part of a story. Her style is characterized 

by the use of fairytale elements, victorian era, backlight, bokeh, damask, foggy environments 

and dark forests. 

Nathalia’s client list consists of many bands, publishers, photographers and artists in general. 

Including Random House, PenguinGroup, Simon&Schuster, Scholastic, Mccann Erickson 

and others. 


ladysymphonia.com

n The One who Creates Dreams 








musetouch 110
























































Chris Berens 

Chris Berens was born in 1976 in Oss, the Netherlands, near the historic town of ‘s-Hertogenbosch 

(a.k.a. Den Bosch), the birthplace of Hieronymous Bosch. 

When he was a boy, his father brought him to many exhibitions of the Dutch Golden Age 

painters, including Frans Hals, Rembrandt and Vermeer, and those images became infused 

into the internal world he began imagining as a child. He studied illustration at the Academy 

of Art and Design in Den Bosch, graduating in 1999. 

While working as a freelance illustrator, Berens began to teach himself to paint in several 

dilapidated buildings in the rural area near his childhood home. Attempting to emulate 

the painting methods of the Old Masters and 19th-century academic artists like Ingres and 

Bouguereau, he learned by copying their work, and eventually came upon a technique which 

allowed him to achieve an otherwordly dreamlike impression of the qualities he admired in 

his predecessors. 

More recently, Berens relocated to Amsterdam, where he began exhibiting his work in 2004. 

After four sold-out shows at Amsterdam’s Jaski Gallery, Berens made the move to infiltrate 

the American art market in 2008, at Seattle’s well-known pop surrealism gallery, Roq la Rue. 

That sold-out show was his first exposure to American collectors, and the sudden appearance 

of an artist exhibiting his technical sophistication and evocative dreamlike motifs caused a 

sensation in pop surrealism circles. 


chrisberens.com
































terrakate.com 










Mary Jane Ans 

Who are you Mary Jane? 

I’m a figurative painter, living and working in Brighton, on the South coast of England with 

my partner of 22 years, Richard and two black cats. I divide my time between work for solo 

and group shows and on commissioned work. 

How did you feel that art was your path in life? 

I have no conscious memory of “deciding to be an artist” it was always just what I did with 

most of my time - still is. My father is a superb draftsman, when he turns his hand to it, and 

his mother went to The Slade, going on to work as a portrait painter during the 1950’s so it 

always seemed a perfectly natural path for me to pursue and I’m lucky in that it’s one that my 

family have always supported. 

Could you tell us some more about your art? 

Although I’ve been doing this for quite a few years now, I didn’t show my work for much of 

that time, until I felt it was at a certain level, I don’t feel the need to rush at it all at least not 

these days! I still feel very much that I’m just starting out - in the larger scheme of things this 

is a lifetime pursuit - and beyond! It concerns me when I see painters whose work finds a motif 

then follows an absolute pattern, not evolving on at all - that’s certainly not what I’m trying 

to do - I may well be fascinated by one model, narrative, even medium and want to concentrate 

on them for a while but my interests are much broader than that. I actually find my 

portrait work to be really useful in that regard - it leads me into work I would not necessarily 

have tackled at that point. I’m fascinated by all sorts of faces, almost every one whets my appetite 

in one way or another - they’d all present a different challenge and that always pushes 

me to try something different each time - definitely a good thing! 

What are your inspirations? 

Inspiration comes to me in many ways and on many levels. For example, I have two huge sets 

of shelves in my living room and they’re filled with books and objects that I’ve collected over 

time, perhaps with still lifes in mind, or just that fascinate me in some way. Very recently I 


ell The Beauty of Hours 


pulled one almost forgotten book off a shelf: A 100 Masterpieces of Art by Marina Vaizey. Two 

things immediately occurred to me, firstly that I’d clearly stolen it from my school library at 

some point! (Sorry about that Grove School!) and secondly that I vividly recalled each page - 

from Duccio to Hockney almost every piece has had some impression on me to a greater or 

lesser extent and steadily over the years I’ve been making unwitting pilgrimages to various 

galleries around the world to see many of them... I guess that’s fairly symbolic of the fact that 

almost everything influences and inspires you as an artist even if only subconsciously. 

How important is to remain true to yourself and your individual vision as an artist? 

It’s absolutely everything I think, you have to find your own bubble of creativity, not least so 

that you can keep up the hours that are involved in producing this work in the first place! To 

develop any kind of skill in this craft takes such a long time and then to make a living, and ultimately 

sustain a life times work, with any kind of quality and originality? It has to be your obsession... 

a lot of other things just won’t get done, and it’s tough! So it really does make a lot of 

sense to make sure you have a hold of your own vision and goals, that way you are ultimately 

the one you’re trying to impress the most with each piece - that’s what satisfies 

and sustains, and you won’t get so knocked off course each time you get a rejection or criticism! 

Are you romantic? 

In life yes. I think so... a realistic romantic! In terms of Romanticism in my work, it’s certainly a 

part but I’m also concerned with veracity, capturing a true likeness or lighting effect if I can. 

What has been your most exciting moment as an artist? 

I’ve been lucky to have had a number of things that come to mind, seeing my work blown up 

on posters in the London Tube and hanging on 40ft banners outside the National Portrait Gallery 

when it was selected as the promotional image for the 2009 BP Portrait Award was really 

exciting, seeing my work on book covers or used by musicians whose work I love (the new album 

by Adam and the Ants will feature Girl in a Cocked Hat) traveling and meeting some very 

interesting people in the course of commissioned work, but I think I still feel most strongly 

about the moment I walked away from hanging my first solo show. It was a real bench mark for 

me, I’d barely slept for weeks but I knew I’d worked really hard, it’s not too often you get to feel 

lasting moments of satisfaction in this game! I get excited each time I see some new potential 

in my work, perhaps a step on in technique will give me a real kick, but that can tend to be 

quite fleeting as the urge to improve and do better seems to kick in ever more quickly - The law 

of diminishing returns I guess! 



Looking back, knowing what you know now, is there anything you would do differently? 

I may have taken advantage of a couple of opportunities to go back to study at Post Graduate 

levels, or maybe study at an European atelier, but I think I’d probably have made the same 

choices - there’s something to be said for finding your own voice in your own good time and 

protecting it from too much outside influence as it gestates. I’d try to go a little easier on 

myself at times - I think a lot of artists are extremely harsh self-critics... and I’d definitely take 

more regular breaks away from my easel! Those long hours can take a real toll on your body - 

it’s a mundane but valuable lesson to learn early! 

How do you see yourself in the future? 

My goals at the moment seem to be evolving into finding a quieter pace, letting the momentum 

of the last few years alter so I can see my next imagery and aspirations form steadily, 

progression seems to come as an organic step on from the last piece, horizons widen and so 

on, more and different characters and landscapes are appearing in my imagination and will 

find their way into my work in due course. Oh and I’d love another studio somewhere, so I 

can paint though the English winter somewhere warmer and with much better light! 

MS 


maryjaneansell.co.uk

musetouch 211











































Kiyo Murakam 

“I was born in 1976 and live in Tokyo, Japan. After graduated from the art school, I began to do 

various art - illustration, design and music. I found the way of expressing myself in the world 

of photography 2 years ago and I began my photographer career. I get the idea from my dreams 

and old memories, I’m inspired by old movies and paintings, too. Some of my work are self portraits, 

I think a self-portrait helps our mental health. It’s not only narcissism but the therapy and 

adventures for us.” 

Kiyo Murakami 


kiyomurakami.com

i Prayer 


Japan needs your 

help! 

British Red Cross: 

Donate 

Japanese Red Cross: 

Donate 













































Tom Przondzio 

Tom, as a long time raving fan of your art, I am very pleased to interview you and present 

your works to the readers of Musetouch. Let’s start by learning a bit about yourself. Please 

tell us who you are and what made you become an artist! 

My name is Tom Przondzion, I am 43 years old and I would describe myself as someone who 

is commonly considered „very sensitive“ to the subtleties in life. I am someone who notices 

little nuances - maybe more than other people do. My personal history with art is a little bit 

of a detour history. I started really early (as a kid) with paintings but I never considered it to 

be a carreer option. It simply was for me the one thing where I could relax best to, where I 

felt „this is something that is in my blood and I just enjoy doing it immensely without anyone 

having to push me into it“. So it’s something that simply comes out of myself. 

Since I didn’t grow up in a big city and my family comes from a little village, no one really encouraged 

me to visit an art school at an early point in my life. My parents and friends thought 

I was talented but they pretty much wanted me to learn something „serious“ that I can make 

money with instead of something „crazy“ like painting that oftenwise doesn’t really pay the 

bills. 

After an apprenticeship as a mechanic in an American company and a following engineering 

University degree, the wish slowly ripened in me to do something more creative nevertheless. 

I managed to get a first foot into the business via the commercial art in the world of 

advertising. I worked as an art director in many different agencies in Germany, some of them 

quite prestigious such as Saatchi and Jung von Matt to name a few. The very late and unusual 

acceptance at the art school „Frankfurter Städelschule“ (thanks to Prof. Christa Näher) only 

worked out after 9 terms in the evening school there. During my phase there, I got to learn a 

great deal from the talented artist Vroni Schwegler who also helped me a lot with my first solo 

and joint exhbitions. Some of them still run my works until today! 

In your works you oftenwise combine several elements very skillfully. You can see sketches 

merging with paintings in combination with collage elements, and the result is always a 

fantastic piece of art that is striking. How did your style evolve to what it is today? Did you 

have some sort of guidance or a mentor that influenced you greatly here or is there an idol 

which inspired you maybe? 


n Somewhere Deep Inside 


For me it just slowly evolved that way over time. When I think about it, this style doesn’t 

necessarily apply to all of my works though admittably many of them might seem similar in 

that respect. Certainly I am influenced a lot by what I see and what is around me every day. In 

the end, as an artist you want to find your own unique „language“ or „style“, the one that you 

resonate most with and that just is inside of you. And I guess this „style“ is highly inlfuenced 

by what moves you every day and your general interests... And yes of course „your current 

muses“ too! 

But yes, there clearly is something like a favourite way of expressing yourself and I love when 

you’re in the process of creating something and it just „comes“ to you- like it „just ought to 

be this way“ so you can be happy with it. Oftenwise that is nothing you plan in the beginning. 

Sometimes you just have to put the art away for a couple of weeks, then you look at it again 

(with new eyes) and „bang“ you just know „this is what’s missing...“ and then you can finally 

complete it. 

As we’re talking about inspiration, your subjects are very diverse, just like the material you 

use. How do you look for motifs to work on next? 

That certainly comes with the moment and what moves you then. Every day brings something 

new (thankfully) and I guess that’s what makes it interesting. I like being inspired but I don’t 

really think about what it exactly is too much. I just use what moves me and sublimate it into 

something else. For my artistic profile and website I had to write a few words about that. And 

this is what I came up with: 

“My rather personal works are mostly about human beings. 

I like to show how people unveil parts of themselves in unguarded moments. How we are all 

searching for how we used to be - or still are - somewhere deep inside. I like to reveal the inner 

core of a person and bring it to the surface - to fathom what‘s behind beauty and how we 

can uncover the extraordinary in the everyday. And in this way, I try to invite the observer to 

take a glance at an exposing mirror, too. 

My works are what you would discover, if you paused for a moment and took a closer look.” 

Let’s think ahead a few years into the future. What do you hope for with regards to your art? 

Do you have something like an artistic goal? 

Oh well, I think I am open to all kinds of surprises! John Lennon once said “Life is what happens 

to you while you’re busy making other plans.“ And I think he really has a point here! :-) 

If you could randomly pick a favourite artist for something like a perfect date – who would 

you choose ? 



Well, if anything is possible, then i would probably go for Glenn Gould, who I love most for 

having said something along these lines: 

„I would like to believe, that in all what I do is something like an ‘autumn peace’, so that my 

music for the most part transcends something calming. I don’t want to claim, that my own 

recordings can reach this goal but I would be very happy if they did. It would be wonderful if 

what we try to capture in a recording would come close to something like perfection, not just 

technically, but mostly spiritually.“ 

NB 


tomprzondzion.eu




















Chris Duffy My N 

Tell us a little bit about zourself... 

I was born 1966 in Melbourne Australia to an Irish father & Polish mother, in 1970 we moved 

to London in the UK & I continued to live there until 1988. We were poor & basically lived in 

the slums. Desperate to leave Thatcher’s Britain & return to Australia I worked double shifts at 

the local pub to save money for the air fare. Since I have returned to Australia I have worked 

in the construction industry, sales, a funeral parlour & for the state coroner among others but 

I have concentrated on art since 1997 when I attended university as a mature aged student. I 

live in a small coastal area of southern Victoria in Australia for the last 7 years where I strive 

to survive as a full time artist as well as help manage & curate a small gallery in a seaside 

town. 

About your first attempt to be creative... 

I was one of those kids who, if I wasn’t kicking a football I would be drawing! Often I would 

wag school & visit London’s great galleries or museums where I would copy (mostly) Rubens 

nudes in my text books or just stare for hours at the magnificent art on the walls. 

The smell of ‘old’ paint & the awestruck wonder of this experience is something that has always 

stayed with me....I have never known to ‘not’ want to draw. 

How did you decide that art was your path in life? 

At the time I was living in a small country town called Benalla in Victoria’s north east & I was 

unemployed, a friend convinced me to join the local art group & try for my diploma.... Reluctantly 

I did but after just two weeks I knew I had found my calling in life & art was the only 

path for me. 

Could you tell us some more about your art? 

Hmm no not really, other than I like to incorporate non-traditional materials in my paintings 

such as, velvet, gold, glitter, wax... Anything that captures my attention really, everything else 

is there to be seen by the viewer. 


ame is Red 


What are your inspirations? 

Great art of the past, the Internet & a strong desire to paint not just a great masterpiece but 

also the most sickeningly beautiful painting the world has witnessed. This may take a bit of 

time... 

Is there a relationship between you and the subjects you are painting? 

Since the Internet is a visual medium ( & due to poor eye sight) I have found I no longer want 

to use life models, so I now use a composite of images I have lifted from the net such as, free 

porn sites, family & friends facebook profile pics but mostly google image search! 

I would literally have over a million images stored in some format or another. Ultimately, all 

my art is a masked representation of me & my relationships within & with this universe . 

There is a strong touch of sensuality in every of your paintings...do you believe that fine art 

erotica is still alive, and if it is so...can it survive the modern era? 

I believe the very act of creating is a sensual act if not an erotic one. 

In regards to fine art erotica, I am not sure it has ever been alive, it has certainly been around 

for many thousands of years yet history & its proclaimers have time & time again been proven 

to push it into the background or dismiss it has a frivolous act by the artist or even burn it! I 

think this is a great shame. However, in this modern era global agendas are changing plus due 

to the Internet explosion with the ease that erotic imagery can be found today I think in time, 

attitudes will change & we will see it hanging on gallery walls & displayed in homes more & 

more. 

I mean ask yourself, why is pornography the most searched subject on the net? What compelled 

man to decorate his cave with such subject matter all those thousand of years ago? 

I believe the erotic impulse is the vital impulse & is fundamental to all of human existence, 

as for ‘Art Erotica’ this modern era certainly provides a platform for it to become more widespread 

& accepted. 

What’s the best and worst parts of being an artist? 

The best? Being an artist! The worst? The seemingly constant justification required to be one. 



What has been your most exciting moment as an artist? 

That is a hard question to answer but I have to say that so far, it is an artist residency at a 

working brothel in Melbourne 2010. All the senses in overdrive tingling, nervous, watching 

from the shadows, a constant state of arousal. At times funny & sometimes frightening! It was 

a real privilege to witness that world & paint within it. Also, I feel the work I completed during 

my stay there is my best to date. 

The future...? 

As ever, constantly optimistic! lol I am currently working toward a multi media installation 

called, Cave. Which will consist of a large tin shed placed in the centre of the gallery, inside 

the cave will be adorned with explicit paintings audio & video regarding love & Lust. Outside 

of this cave I will hang the mask paintings I am now working on. Also, I am very excited 

about an upcoming collaboration with a writer from Perth, Manuela Gimondo. I think paintings 

& verse hang very well together. 

MS 


chrisduffyart.com 

facebook.com/chrisduffyartgallery 

manuelasblog-expressions.blogspot.com



Lovers Embrace 

Come to me my lover 

lets make memories, sweet. 

We’ll escape, run away 

to a luxurious secret meet. 

We will capture time 

and secure it with our desires. 

Our arms will wrap, entwine 

our hearts our souls transpires. 

Each fantasy will be revealed 

diving into the pleasure abysss. 

These precious moments, my lover 

confirmed with that delicious kiss. 

Our longings fulfilled, complete 

this powerful and vital intensity 

will be ours now and forever my sweet. 

Manuela Gimondo 





Enigma 

What secret you keep what mystery 

behind those jewelled eyes? 

Your perfect mask a crown, sublime. 

Immersed in this shroud 

this camouflage. 

Your foreboding glance poised like a silky 

cloud. 

Eager to uncover this ethereal beauty. 

Your sensuality my captor those lips my 

liberty. 

An enigma haunting 

A masquerade wistfully forbidding. 






Masked Desires 

Adore me 

for I am soft 

Exalt me 

for I am worthy 

Treausre me 

for this cargo is precious 

Whisper my name 

and I will surrender 

Delight in me 

and I will delight in your desire 

Kiss me softly 

and my lips will call your name 

Caress me sweetly 

and I will melt into you 

Seduce my senses 

and unmask my soul 

Tenderly hold me 

and I will be yours...forever ! 



















Sara G. Umem 

“Born and raised in Mexico City, since my youth I was interested in visual expression. Graduated 

with diploma in Graphic Design BA and moved to Japan in 1996. As photo-illustrator I 

did my debut in the digital art scene in 2000. My technique is based in academic learning and 

experimentation. 

My works of photo manipulation are pieces of digital narrative which usually oscillates between 

these moods: seriousness, drama and humor. An imagery that is strongly influenced by traditional 

Japanese Art, Conceptual Art, Surrealism, as well Alternative Art.” 



samsaragate.com

oto Digital Narrative 
































Lara Zankoul 

Lara Zankoul is a 23 years old Lebanese self-taught photographer, dividing her life between 

economic studies and passion for artistic photography. She started photography as a hobby 

three years ago and now she is creating as an artistic freelance photographer. 

“Photography is an escape from everyday’s reality. This appears in my pictures which are characterized 

by a fairy atmosphere, surreal compositions and a desire to reach an imaginary and 

aesthetic world. I look for the mysterious, ambiguous in my photos without totally detaching them 

from the real world. I am interested in conceptual and artistic photography. I like to create the moment 

through my lens instead of catching it.” 

Lara Zankoul 


facebook.com/larazankoulphotography

Escape

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