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Magzoid Magazine - Luxury Magazine in the Creative Space | December 2023 |

“They always say time changes things, but you actually have to change them yourself.” Andy Warhol As the vibrant pages of Magzoid Magazine's December 2023 edition unfold, the theme 'Canvas 2023' reveals itself as a rich tapestry of inspiration and creativity—a celebration guided by the wisdom of Andy Warhol: 'They always say time changes things, but you actually have to change them yourself.' Explore the transformative journey of Juhaina Edres, a visionary entrepreneur reshaping Dubai's landscape through her E-commerce skincare venture and the impactful connections forged at House of Sorority. Dive into the art world with Matt Cauchi, a Sydney-based Mixed Media abstract artist, as he shares insights into his unique blend of minimalism, Fauvism, and Abstract Expressionism.

“They always say time changes things, but you actually have to change them yourself.”
Andy Warhol

As the vibrant pages of Magzoid Magazine's December 2023 edition unfold, the theme 'Canvas 2023' reveals itself as a rich tapestry of inspiration and creativity—a celebration guided by the wisdom of Andy Warhol: 'They always say time changes things, but you actually have to change them yourself.'

Explore the transformative journey of Juhaina Edres, a visionary entrepreneur reshaping Dubai's landscape through her E-commerce skincare venture and the impactful connections forged at House of Sorority.

Dive into the art world with Matt Cauchi, a Sydney-based Mixed Media abstract artist, as he shares insights into his unique blend of minimalism, Fauvism, and Abstract Expressionism.

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The titles of <strong>the</strong> artworks are described as evocative pal<strong>in</strong>dromes<br />

shared between pair<strong>in</strong>gs. Could you elaborate on <strong>the</strong><br />

significance of <strong>the</strong>se titles? How do <strong>the</strong>y contribute to <strong>the</strong><br />

overarch<strong>in</strong>g <strong>the</strong>me of commonality and departure with<strong>in</strong> <strong>the</strong><br />

exhibition?<br />

We each use our own unique nam<strong>in</strong>g conventions for our artworks:<br />

Jason’s titles often reference books or music that he is<br />

engag<strong>in</strong>g with while work<strong>in</strong>g on a particular piece while Nima’s<br />

titles are simply <strong>the</strong> dates when <strong>the</strong> works were completed. For this<br />

collaboration, we felt we needed a new nam<strong>in</strong>g convention that<br />

was mean<strong>in</strong>gful to <strong>the</strong> essence of <strong>the</strong> exhibition. The idea to use<br />

pal<strong>in</strong>dromes was a nod to <strong>the</strong> notion of see<strong>in</strong>g <strong>the</strong> same th<strong>in</strong>g from<br />

two different perspectives. The titles of <strong>the</strong> works; Tenet, Level,<br />

Civic, Radar and Noon all rema<strong>in</strong> <strong>the</strong> same whe<strong>the</strong>r <strong>the</strong>y are read<br />

forwards or backwards. For us, it was less about <strong>the</strong> mean<strong>in</strong>gs<br />

of <strong>the</strong> actual words and more about <strong>the</strong> design structure of each<br />

word, <strong>the</strong> symmetry of <strong>the</strong>ir mirrored build<strong>in</strong>g blocks.<br />

Both artists, Nabavi and Seife, seem to employ different mediums<br />

and techniques. How did <strong>the</strong> stark differences <strong>in</strong> <strong>the</strong>ir<br />

approaches, such as Seife’s bold flatness and Nabavi’s <strong>in</strong>tricate<br />

layer<strong>in</strong>g, <strong>in</strong>fluence <strong>the</strong> overall aes<strong>the</strong>tic of <strong>the</strong> exhibition?<br />

How did <strong>the</strong>se differences create a symbiotic relationship <strong>in</strong><br />

<strong>the</strong> artistic narrative?<br />

The resonant commonality <strong>in</strong> our works is <strong>the</strong> complexity and<br />

detail that exists with<strong>in</strong> a very ordered and symmetric composition.<br />

Each of us employs color <strong>in</strong> our own way, Jason mix<strong>in</strong>g his<br />

on a palette before apply<strong>in</strong>g <strong>the</strong>m by brush to a smooth flat f<strong>in</strong>ish<br />

on canvas, while Nima builds his up one l<strong>in</strong>e-layer at a time with<br />

rulered pen strokes directly on <strong>the</strong> f<strong>in</strong>al surface. We are essentially<br />

us<strong>in</strong>g different tools and methods to build our own unique renditions<br />

of <strong>the</strong> same idea. We feel however that <strong>the</strong> difference <strong>in</strong> <strong>the</strong><br />

resultant aes<strong>the</strong>tic of <strong>the</strong> pieces actually works to highlights <strong>the</strong>ir<br />

po<strong>in</strong>ts of similarity. Each <strong>in</strong>dividual work <strong>in</strong> a pair may have its own<br />

unique manifestation, but <strong>the</strong>ir essence rema<strong>in</strong>s <strong>the</strong> same.<br />

www.magzoid.com <strong>December</strong> <strong>2023</strong><br />

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