The Basel Art Summer Camp 2026 Pt.2 : Artists Who Brought Joy, Nostalgia and Birds to Their Work

In the second part of the Basel Art Summer Camp episode, I explored the art and storytelling of emerging artists at SummerCamp during Art Basel, Elise Potelune from France, Isobel Brigham from U.K and Ketevan Jananashvili from Georgia. We discussed how personal experiences, cultural heritage, and emotional expression shape their creative processes and narratives. Each of them brought their own distinctive authentic voice to their work and I can't tell you how inspiring it was to have a chat with them during the summer camp. 

Check out the Basel Art Summer Camp website for more details about the artists' profile and their work. If you are interested to follow and support my amazing guests on Instagram:

Isobel - @isobel_brigham

Elise - @elisepotelune

Ketevan - @ketevanjananashvili

Enjoy the episode!

Transcript

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SPEAKER_03 0:21

Hello everyone, how are you surviving this heat wave? So just came back from Basel and um trying my best uh not to get dehydrated uh due to the heat and staying inside and um still buzzing um with the excitement uh from the experience I had at the uh Art Summer Camp uh last week. And in this part two of my podcast uh episodes where I'm dedicating uh specifically to my journey um during the summer camp, uh I'll be sharing with you my conversation with three wonderful artists that were featured uh at the summer camp. Uh they are Alice from France, Isabelle from uh UK, and uh Ketaven from Georgia. Great inspiring artists. I managed to have um separate conversations with them, um asking them questions about their inspirations, about their approach to storytelling, and I definitely learned so much um from the chat that I have with them. They are emerging artists, but with sharp, incisive um worldview and such confidence as well, you can see in their work. So uh being part of the summer cam, actually giving them this great space for them to continue building their confidence, but also network and exposing them to emerging collectors uh that that were attending um the Art Basel Festival as well. So to me, I cannot miss the opportunity to talk to them, and and I learned so much from these three wonderful artists. So take a listen and I hope you enjoy my conversation with them. Hi there. Um so I have with me one of the emerging artists that's part of the SummerCamp um art battle, and she would like to share more about herself with all of you today.

SPEAKER_00 2:47

Hi everyone, I'm Elise. I'm a French artist, I'm from Paris. I'm usually more like a painter, and my painting is really about like colorful art and joyful moments and memories. So I hope you'll enjoy it.

SPEAKER_03 3:06

Elise, I saw some of your painting, and indeed your painting just evoke positive lights, positive energy from me when I see it. So I think that you are um one of my favorite storytellers from the cam this year. Now, as a storyteller, I just want to understand more. Um, why do you think and you are a storyteller or who you are as a storyteller?

SPEAKER_00 3:33

Oh my god, that's so hard, question. No, no. I think

Elise - Art as Therapy: Transforming Grief into Joy

SPEAKER_00 3:39

I'm a different storyteller from my paintings than from my stories I tell like to my friends. Because in my paintings, as you say, this really like optimistic vision. It's really about joyful moments, memories I experience or I wish I will experience. And I just take all the joy of these moments and I just put like so many colors, and I just like put off all the details. So it's just more like minimalist, but also like really not not the not empty thing, you know, it's like really full.

SPEAKER_01 4:14

Yeah, yeah.

SPEAKER_00 4:15

And so I think I hope, I I wish I bring joy with my paintings, and it's like honest and really optimistic. But in the real life, I think it's like I'm the opposite of this because I'm someone like with which is always laughing and always doing jokes, and but also I have like a so deep side in my mind, but I think it's usually like like logical that we have like both part of this. Yeah, but to just answer your questions, I uh as a storyteller, I think my friends always say that I know how to tell a story. No, I know how to grab attention, I know how to start to hook. It's easier in French, of course, than in English.

SPEAKER_03 5:05

No, but you can say it in French if you want. I I think some of my listeners can speak French, so no more.

SPEAKER_00 5:11

Yeah, I I should because in English, of course, for me it's it's harder, but uh I I think I I really love the attention that people give me. I think it's so important for me that to like grab attention of people and just people is like listening to me. I think it's part of me to be like seen by people by my stories. I think it maybe it's like a narcissistic.

SPEAKER_03 5:38

No, no. Um I feel storytellers are people that not only um they not only want to convey stories about themselves sometimes, but as you say it about yourself, and I think that is so true, that you capture maybe some of the moments or elements that others might miss or do not have the opportunity to enjoy, or something in their memory or the back of their head, you know, they always thought about it, but they could never translate it into words or visual. Yeah, that's true. You you did that for them, you know. And I think it's this is why I I've always admired the work of storytellers because um it's not narcissistic. It's just, you know, filling in the gaps in our life with those elements that other people uh might be missing. I have a question though. Um I can tell from our past conversation that you are someone who's deep. We even talk about, you know, some of the challenges of dating, for instance, or some of the things that we face. Um, so we do have those dark moments. But what I find interesting is that instead of choosing to tell those dark moments in your art, you try to capture the joyful moments. Why do you think that's important? Why not the dark moments?

SPEAKER_00 7:03

Um, I think that that's important for me because uh last year I lost someone really important in my life. So I was like in grief, and it was really, really hard for me this time. So I just like put myself in paintings and art because I had to stop thinking. Like, really, it was so hard for me. So I just like put myself in one safe place, and I was just like painting, painting, painting, and just colors, colors, colors, and that was just not something I intellectualized. Like I was not thinking about I am putting joy, I am putting colors because I'm sad. Yeah, but it's like how naturally it's just coming. So I think I just want to, you know, if I'm really sad, if I'm really deep inside, if I'm really like someone who's always thinking about the dark things, I think I just want to take off all the dark side of the life and just put the joy in my paintings. But it's not something that I really think about when I do it. It's just like now I can sum up it like this. Yeah, yeah. Yeah, it's I think painting really helped me last year to just like go on and just like yeah, just like see the beauty in the life again.

SPEAKER_03 8:28

I love how in this case the way you tell it, it seems like if painting last year also served as your therapy.

SPEAKER_00 8:37

Yeah, it really saved me.

SPEAKER_03 8:39

Yeah, yeah. And um and I also really admire how you are able to translate that feeling, that sadness, or maybe grief. Uh, I will I won't ask more about what the incident is that was that led you to that. But I find that that is so difficult for a lot of people to do, to translate the trauma, the pain, the grief into something colorful.

SPEAKER_00 9:09

Yeah, and I think that all my art is about how to transform this, as you said, because also like three years ago when I started painting, actually, I was doing therapy, and uh, we are we were about like a big subject, and it was really hard for me to just like deal with it. So I just started painting also for this, and it was like always painting flowers, and that was like so the opposite I was like living in my head. Yeah. So I think art always just helped me to just see beauty in life. And when I lost one of my best friends last year, it was really like you know, um, something that we couldn't like predict. So it was really hard, and I just like painting colors, colors, colors, colors. And I think it's like maybe all the trauma is like how we can transform it as a beautiful thing.

SPEAKER_03 10:06

So you showcase uh a few of your great work uh at the camp this year. Um if you can share with us, I know my audience cannot see the painting, but I will maybe share with them a link to your Instagram and your social media so they can have a glimpse of your wonderful work. But if you can tell me like one of your most favorite work that you are showcasing. Oh wow. I know it's very hard to do to choose, but uh, if you can choose one that you want to share with the listeners.

SPEAKER_00 10:41

Uh I usually talk about my tables collection. Table collection. You know, it's like I'm always uh I really love this year and last year painting like tables because it's like moments of joy, moments of sharing with people. But I think for this podcast, which we are talking about like ourselves, I will talk about

Elise - Drawing your Own Portrait

SPEAKER_00 11:00

like the autoportrait I did of myself, but no, no one knows it's like an autoportrait. My friend always said, Is it you? It looks like you, and I'm like, No, it's not me because I'm so like shy about it, but actually it's it is. And I just represent myself without face, you know, without eyes, without nose, without mouth. Yeah. And I think it just like, you know, when you see people, it's like more about like the aura. The aura. Yeah, yeah. And I think this painting represents me as I wish people will see me. You see?

SPEAKER_03 11:41

Fascinating because I saw that one too. And indeed, um, I didn't get a chance to talk about it with you or ask you about because we were distracted by other more juicier stories. Um, but um I saw that and it is indeed interesting because immediately when I see that I link it to you. Uh, I don't know is it because you are the painter or because something in the painting gives me the hint that that's you. But I think if that is what happened, that means you have conveyed your message effectively, right? So, what do you actually select to put in that auto portrait to represent you?

SPEAKER_00 12:26

Um it's hard to say. I think it's I usually I used to have like this hairstyle at this moment, this like outfit style also. But I think it's more about like the posture of like the character. And I think it's more, it's a lot of me. Like with I represent myself like with large shoulders, and I'm like not moving, but just like you know, I stand by and I'm here, and I think it's like more about the energy, even if there is like no details on this painting, but I hope it's like more about like you know, like uh how we you stand up and how you face the world, yeah. So and also the colors, of course.

SPEAKER_03 13:11

Yeah, I think it's always fake and red. Exactly. The colors, it seems like so synonymous to you. That's one thing that I noticed. I mean, it gives me some kind of uh consistency in what you use, and that's why I associate it with you. But I think you give a very important message as well about conveying message in the sense of sometimes you don't need too many details in a work to tell something. Um, you can just choose the most important aspect of the message and then you focus on that. And I think that's what you did with the auto-portrait. Oh, thank you. Um, so I I know that you're all having a very busy day today, and I don't want to keep you long, but I am sure we're gonna have more conversations, and it was so nice talking to you. But if I want you to uh summarize your whole experience at the camp, what you've learned, and what you will take away from it, what would it be? From this week? Yes, from this week.

SPEAKER_00 14:13

Um the first thing I'm thinking about, I think it's confidence because I was really stressed about this week, about like socializing, about my English, about all the things I have to do, and blah blah and and my place in the art world because it's my first exhibition, also. So and I think like all the good comments, all the all the good critics, all the good friends, and all the good conversation like we have now. It's just like giving me so much confidence and I'm so grateful for this because I can just go back home and and think now I am an artist. So it's really important for me because if you told me like this three or six months ago, I would just say, like, neither. No. I'm like, okay, maybe I'm an artist. And so it's the first thing I'm thinking about, and the second thing also is like the good friend and the good meetings. Because this conversation we are having for me is like so grateful, and you know, like it's like fooling me of so many good energies. So I'm so grateful for this because I think people are super supportive with me, and I'm I'm feeling like so lucky of this, really. So it's more it's not like about money, it's not about like the visibility, the virality of anything. It's more about like confidence and just like the good vibes and energy. I'm just like taking to Paris to my home and what I just said.

SPEAKER_03 15:52

No, I think um what you say is is it seems to be a recurring theme among all artists about finding our place in this world. And it's fascinating because outsiders, people who uh enjoy your work, people who enjoy your paintings, um, they already see you in your place. They already know that you are at the right place at the right moment. But artists tend to constantly question that. Sometimes I think it's very positive to always question that because it gives us this inspiration and uh grit and uh energy to continue. And I hope that you will never doubt your place in the art world. You definitely have a place in the art world, and I know that you'll be super successful in the future. So thank you, Alice, for me today.

SPEAKER_00 16:50

Really is so important for me, and I'm so grateful. And yeah, thank you so much.

SPEAKER_03 16:55

Just like helped me so much to so that's Alice for you, and I'll be bringing to you other artists as well in this uh episode, and yeah, we'll be talking the next one after this.

SPEAKER_00 17:08

Thank you.

SPEAKER_03 17:50

But before we get deeper into her work, uh would you like to tell the audience who you are and where you're from?

SPEAKER_05 17:59

A bit more about yourself. My name is Isabel Brigham, and I'm an artist originally from York in England, and I create work to evoke memory and shared experience with others through the use of bright colour and um found images.

SPEAKER_03 18:20

Amazing, amazing. Now, um, as a as a painter, and I can say that in each of your pieces, I feel like I know those persons in the photo, which I think is such an indication of how your work evoke a certain nostalgia or memory from people who enjoy it. Now, who are you, you think, as a storyteller, and why is it important for you to tell your story?

SPEAKER_05 18:48

Well, firstly, like thank you for that. That's exactly what I want people to feel like from the work. I want them to look at it and relate to the memories and have the mutual experience and feel nostalgic for these things and familiarity and moments that weren't there. So thank you. As a storyteller, I think like not only I think am I sharing my own stories through my work, it's all about like sharing these joint stories, these like collaborative experiences that seem to like repeat over different lifetimes in different places with different people from different cultures and different ages, and how we can all sort of relate to these moments. They're often filled, like moments filled with like love and joy. And I think that's such human emotion that we can all like relate to.

SPEAKER_03 19:30

Ah, that's that's wonderful. I love how you described um who you are as a storyteller and what you want to bring into your work. And I also think that you are very masterful in how you use color, you use hues to sort of accentuate this message that you're trying to convey. Can you elaborate a bit more about how you use this this hue that I can see across your work?

SPEAKER_05 19:54

This color. Yeah, I'm

Isobel - What are the hues of nostalgia?

SPEAKER_05 19:56

so drawn to certain colours. Like I often start with this magenta base, which I think just for me, it's such a colour and symbol of sort of vibrancy and how we can look fondly upon stuff. And I think it sort of it unites all of the colours on top of it and makes like a really consistent colour palette across the works, and you get that sort of like line work through from the pink um underpainting, which yeah, I think it really helps with this nostalgic element and how we often can look back more fondly on moments in the past, even more so than we realized at the time. You can live like a moment and not realize that this is something in one week, one month, five years that you're gonna be feeling so nostalgic for. And I think growing up in the early 2000s and being surrounded by this like bright plastic definitely impacted my work. I think that's sort of where the colour palette sort of started was looking at these like bright pinks and baby blues and like these butter yellows that were associated like strongly with like my childhood. And from there it's kind of escalated, and I've looked at sort of enhancing the colours or shifting them slightly to show different time periods. But at the minute, I think I've got a really consistent palette that reflects both the past and the present.

SPEAKER_03 21:28

So artificial intelligence and digital art is sort of taking the space that are created for the artist, and yet you are in many ways um trying to relieve elements from the past, the nostalgia, the familiarity, comforting closeness, proximity. How do you think um your work could survive this excitement and interests in the digital art and artificial intelligence?

SPEAKER_05 22:01

I think that my work has such strong

Isobel - How Art Resonates

SPEAKER_05 22:05

feelings for people. Like they connect so well with it. They look at it and they're like, that looks like my grandparents. My parents used to do that. I feel like I've done that, especially like the Wild Swimmers of 1962. A lot of people look at that and they're like, I've got memories like that. Even like a lady the other day, like she wasn't even from Europe. And I think she was from um like Southeast Asia, and she said like she feels connected to like that imagery. And I think that's just such a strong, powerful thing to have these moments that can collaborate us all and just like break down like humanity.

SPEAKER_01 22:42

Yeah.

SPEAKER_05 22:43

I don't really think that's an emotion you can get from an AI image.

SPEAKER_03 22:48

Absolutely. I love how you mentioned this uh this person, or maybe your new fan uh from Southeast Asia because I'm from Southeast Asia as well, and the the sense of familiarity that I get from your painting is is those those paintings of um families and and people by the beach, because we have a lot of beautiful beings over there, and that immediately becomes a point of connection. So I love how your painting, they're informed by your inspirations and your muse here where where you come from, and yet there is a universality to it that all of us look at it and say, Hey, this is just like a photo from the photo album that I have at home, right? Is that is that is that why you draw in in the way that you draw?

SPEAKER_05 23:39

Yeah, I want people to connect more with their own like memories and stuff. Like even from a young age, I've loved like flicking through photo albums and looking at these images. I love sort of candid images we got on um like analogue um cameras, and I think like in such a digital age, um, it's nice to look at like and treasure the moment that we do capture and make it like a conscious choice to capture this rather than just like snap a hundred photos that you're never gonna look back on that all just sit on a screen.

SPEAKER_03 24:13

I love it, I love it. And um, based on what I see uh at your booth today, there's less and less. So, congratulations. Thank you. Yes, they're all gone now. It's crazy. How do you feel as a new emerging artist to see your artwork being bought by people being celebrated by by people that come to this exhibition?

SPEAKER_05 24:37

I feel honored, and I think it just is really lovely to see how many people connect with the imagery and how they feel the same way as me. And it's like when people feel this nostalgia when they look at the image, and I also feel it. I feel like we build like this connection and bond through the work, and it's a really beautiful way to communicate with another people, like another human being. Oh gosh. So I'm so happy that everyone's like taken them home and brought them into their collections.

SPEAKER_03 25:06

It's all I can say is that I feel your individuality in your work definitely have a place in not just only this exhibition, because you're bringing something that perhaps should remind people about the importance of you know looking back in the park, but also very marketable because you're doing well. I think that is such a yeah, that's such a good combined force uh as an artist. So congratulations on that so much. And and before I end our conversation, what would you say to others who might want to sort of convey the same message as you do as a storyteller?

SPEAKER_05 25:44

I think it's about like finding your story and finding what interests you and what moves you and your way of putting it out there. I think the way that you sort of release your creativity, whether it's through painting, sculpture, literature, poetry, I think it's kind of like a handwriting. You can try and change your handwriting, but it it naturally comes to your hand. So people should express their stories in the way that naturally comes to their hand. And for me, it's through pain, and for others it might be through data, and for others it might be through poetry.

SPEAKER_01 26:21

So amazing. So thank you, Isabel. Thank you so much for this uh conversation, and I wish you all the best. Thank you in the future and verse. Thank you so much.

SPEAKER_03 26:59

Uh this artist is the first artist I asked to have a conversation with, but she's also the last that I'm recording this with. And another special thing is I'm doing it outdoor. It's just uh an attempt to offer something different in the conversations I have in in Basel. And I feel it's just a nice way to be in nature and have this conversation with our artist, Ketaven. I don't want to say more because I want to pass the mic metaphorically to her. Hi, Ketaven. How are you doing? Hi, you're doing good?

SPEAKER_04 27:39

I'm doing good. How are you doing?

SPEAKER_03 27:42

I'm doing good as well. And I love that we are walking together in nature and uh I hear the birds, yeah. And our conversation, one of it is gonna be about birds. Yeah, exactly. So before we get into it, would you like to tell us more about yourself?

SPEAKER_04 27:59

Yeah, I will try. Uh I'm Ketuan, I'm from Tbilisi, Georgia. Um, I'm multidisciplinary artist, so that means that I work in different mediums, nice, such as uh painting,

Ketevan - Symbolism in Storytelling

SPEAKER_04 28:15

drawing, photography, and uh I love use texts too as a medium um for my work, not just um as a concept, but uh as like part of my piece of work kind of thing.

SPEAKER_03 28:34

Nice. And uh how are you feeling about the summer camp? Because you've been here for the whole week.

SPEAKER_04 28:41

Yeah um it was really, really, really great to be here. Uh I enjoyed um like all all of these situations, and uh I think I will take a great experience from here.

SPEAKER_03 29:01

Um so when I was going through all the exhibition, right? Uh I stopped at your booth because you have wonderful photographs, you know, like that you took. But I was also drawn to your way of storytelling. I immediately get what you were trying to say about this piece. It's my one of my favorite pieces in the in the exhibition. Thank you. Um, if I can tell the audience about it, it's um so it's a it's multiple panels of different uh pieces consisting of a flying yellow bird across different landscapes, right?

SPEAKER_02 29:46

Am I describing it well? Yeah, yeah.

SPEAKER_03 29:48

But it seems to start from the first panel, which looks like it's full of something that to me looks like a fabric or a rug. Can you explain a bit more about this this particular piece that I'm describing to our listeners?

SPEAKER_04 30:04

Yeah, it uh contains nine pieces, nine pieces, but I see in them like one uh piece of artwork or kind of uh it tells a story of my friend. Uh um so like um um and I I inspired by her carpet, old carpets. Nice uh and the bird uh was the part of this or old carpet, and uh I took it uh from it uh as a symbol uh and I transferred it uh as a symbol of uh my friend kind of thing. Yeah, yeah. I don't know if I'm explaining it clearly, but you are explaining it fantastically. Thank you. Uh yeah, and uh I'm telling her story kind of um uh she moved uh abroad from Georgia and then came back, and yeah, that's all this story. And it contains uh uh little sentences too in Georgian, but I didn't take um uh I didn't bring them here because it was in Georgian and yeah, but do you want to tell us what those texts are in English?

SPEAKER_03 31:25

Um yeah, let me just check. Okay, I don't know. Oh no, she's she's uh she's checking her phone now for the text. Uh but this will be interesting because I don't see text on the visual. Uh it's very small, but uh you can tell us what you remember.

SPEAKER_04 31:41

Um it starts that uh a little yellow bird lived on this old carpet. Uh-huh. Then uh she disappeared. Uh-huh. Uh she flew over the ocean and lived in different uh cities, even uh in megapolis, and uh and then she decided to come back, come back, and yeah, that's the whole story kind of thing.

SPEAKER_03 32:12

Um I don't know if I should share this with you because this is not published yet, the book. Um, but I have been writing a book for the last few years, and I completed the manuscript in March. And uh the first chapter of the story is about me changing into a bird, a bird of paradise. I think this is why I feel connected to the bird, right? But um, I think it's such a very interesting symbolism that you use as a storyteller. Um, do you want to tell us a bit more? Why do you change your friend into this bird? Like what moved you to to draw in such a way?

SPEAKER_04 32:53

Uh I think it's just an inspiration. So like uh my creative process looks like uh I have the spark for inspiration. So I call it the portal which connects me to the something bigger. Then I get the idea, and um so it's mostly based on feelings, and then I'm trying to balance it with my mind. And uh that's that is when I start research kind of thing. Um and um trying to connect everything to each other and uh use different subjects and topics uh for my background story or kind of yeah, yeah. For example, poetry or I don't know

Ketevan - Impact of Current Events on Creativity

SPEAKER_04 33:46

architecture, anything, you know. Yeah, and uh yeah, um I think uh it was so it started looking like that. Uh-huh. Yeah, I like had this part, and then I saw this carpet, and uh yeah, I get inspired, and um I thought maybe it could be great uh image for my story, and I can transfer these yellow birds into a real person or something like that. Yeah, and I love like using different kinds of things uh to express myself as a I mean I as a symbols, yeah. Yeah, I I have uh different uh kind of similar series about lighthouses. Uh yeah, and I transferred the another person to this lighthouse. Yeah, yeah, yeah. Yeah. And yeah, I think it tells the story better when you have this image, this uh how to say uh something that's uh better expressed.

SPEAKER_03 35:05

Okay, we have to before we get knocked down everything, you know. Yeah, uh I felt that we have in many ways, even though you're you're an artist, I am an artist in a different format. Uh we share the same passion and interest in using symbolism a lot in our work, like buildings and yeah, yeah, yeah, exactly. Animals. I mean in my case. Yeah, yeah. Everything. So who are you as a storyteller in this regard? We can uh you know, we can take this walk uh and then uh and you as you as you think uh about that question, but yeah.

SPEAKER_04 35:50

Um yeah, how to start? I think uh storytelling uh gives an artist more uh opportunity to express their thoughts and feelings, I think. Right. Maybe I'm wrong, but it's my way to yeah, express them. So yeah, um and when you use kind of symbolism it makes it more interesting, I think. Yes. So and you can put everything in it, yeah. And let people think about that. What's that?

SPEAKER_03 36:33

And as a Georgian, is there a lot of things from your culture or your background that is informing you in deciding what symbols to use in your work?

SPEAKER_04 36:44

Um if I'm gonna talk uh especially about that bird uh and uh about that carpet, which is my favorite. Um it's uh uh so there's a part of Georgia where people make these carpets uh by themselves, right? And yeah, it was one of them, uh huh. And maybe yeah, it was also like kind of connection to my culture somewhere. Absolutely, yeah, and I love using black uh backgrounds, so black background, yes, which you use, yeah. That's oh I think that's also very Georgian in in some way, yeah. Right, and uh yeah, yeah. Uh we we have uh one painter, we had one painter in uh in the beginning of the 20th century, right? Um Nico Pirosmani, and he used this black backgrounds almost in every piece of art. So yeah, I I feel kind of connection to him because of that. And uh my culture too, yeah, I think so. Nice, nice that the black uh background is not only used in Georgia. Uh for example, Albrecht Dürer used it, and yeah, yeah, different kinds of painters.

SPEAKER_03 38:17

Do you do you think as a storyteller, a visual storyteller, of course, um do you think having that connection to your heritage helps you to tell your story better? Or can it also limit you in some ways? I was just wondering if if that helps. It helps, yeah, yeah, in some way. Amazing. And um how how do you think your participation in the summer camp is helping you to be a better visual storyteller?

SPEAKER_04 38:56

Oh yeah. Um I should tell that uh past two years um we have ongoing protests in my country against uh uncleas, against our government, and so and uh I was deeply involved, and uh I have too many experiences related to this protest. Well done. Even I was assaulted uh with paper spray and brilliant.

SPEAKER_03 39:27

That's that's horrible.

SPEAKER_04 39:28

But yeah, it's it's a experience, you know. Um maybe very stressful emotionally, but yeah, I can take it uh for my country or something like that.

SPEAKER_03 39:38

How are you how are you feeling though? Because you're not far from a country. Is this uh still happening? Uh the process um now is less intense.

SPEAKER_04 39:47

Less intense. Yeah, and that's why I think that I focused on my um working process plug and right. Yeah, I'm participating uh at the art puzzle. Um I'm in camp. One day, who knows?

SPEAKER_02 40:02

You know, you'll be in the main hall. I think that's my like goal or something.

SPEAKER_03 40:08

Exactly, right? We don't all have to be in the art puzzle main hall. Yeah, yeah. I I love that I discovered you here. Sorry, I'm cutting you. Uh keep on going.

SPEAKER_04 40:18

Yeah, so um puzzle art summer camp is the first how to say event or kind of thing. Uh, after this whole time, I'm participating and uh it will transform for me in very good uh experience, I think, and kind of uh turning point, maybe maybe for my future steps, and so yeah.

SPEAKER_03 40:48

I'm happy to hear that. I it seems like I have the same, I I hear the same sort of response about their participation. It's about helping them uh, you know, to be not necessarily a better artist. You are already great artists in telling your stories, you know, visual storyteller. But it's just about how to uh perhaps pitch your work and uh build that confidence a bit more and give you more visibility. Yeah. And I think that's a really, really cool. Yeah, I think so. And um, what would be your advice or maybe something that you want to leave with our listeners if they are you know visual storytellers or painters among them and they want to learn something from you? Yes, of course, we are all learning something from you today.

SPEAKER_04 41:40

Um they should focus to be honest, I think, in their work. Yeah. And they should express what they are feeling, and yeah, I think that's the most important thing in art, uh, which is kind of lost in contemporary time. So I when I see some, I don't know, piece of artwork, I don't feel anything mostly, you know. And I love when I see something and feel something, and then I go to home and thinking about that constantly, yeah. And so I think uh that's the most important thing to feel something from from the art. Yeah, and I think they should do that, put their feelings into the um into their work, I think.

SPEAKER_03 42:40

Yeah, that is that is beautiful. And uh to my listeners, we are in the middle of a park somewhere near the High Hostel. The birds are singing, and I'm talking to Ketaven about the beautiful way artists are telling their stories as a visual storyteller. Thank you so much. Sorry for my English. No, don't listen to her. Her English is awesome. Thank you so much, and all the best uh for your work.

unknown 43:06

Thank you.