OUR STORIES

To tell our stories is an offering of love, a chance to meet and connect and most of all to share. To acknowledge, honour, celebrate and bask in womxn’s month, Eclectica Contemporary hosts a womxn’s group show in our womxn-run gallery.

Entangling and intertwining the complexities and simplicities of identity, environments are created and explored. Recognising power and representation, this exhibition hopes to welcome conversation, warmth, community and interaction through the work, the artists, the space and the context of history and present time, as we share and create our stories together.

AIMEE LINDEQUE

Aimee Lindeque’s art can be concisely summarised as intricate and imaginative works created in an eclectic style. She describes her creative process as a form of intuitive auto-pilot wherein she allows images, textures and ideas from her imagination and subconscious to flow into works which have a dense doodle-like quality. Her work is partly inspired by the onslaught of imagery individuals experience in the information age.

In 2017 she graduated from the UCT Michaelis School of Fine Art with a major in sculpture. Aimee is currently producing and exhibiting work in watercolour and ink. Their colour arrangement and focus on line detail is inspired by comic book artists such as Moebius. Aesthetically, her work experiments with the visual effects of detail and how cluttered imagery can create different interpretations depending on how far the viewer is from the artwork.

Aimee Lindeque, Yellow and Red colour study, 2018, watercolour on paper, 47 x 34.5 cm

Aimee Lindeque
Yellow and Red colour study
2018
watercolour on paper
47 x 34.5 cm

Aimee Lindeque, Yellow and Red colour study, 2018, watercolour on paper, 47 x 34.5 cm

Aimee Lindeque
Blue July
2018
Water Colour on Paper
48 x 35 cm

Aimee Lindeque Listening 2019 Water Colour on Paper 25 x 33.5 cm

Aimee Lindeque
Listening
2019
Water Colour on Paper
25 x 33.5 cm

Aimee Lindeque Seeing 2019 Water Colour on Paper 23 x 31.5 cm

Aimee Lindeque
Seeing
2019
Water Colour on Paper
23 x 31.5 cm

Aimee Lindeque Speaking 2019 Water Colour on Paper 25 x 33.5 cm

Aimee Lindeque
Speaking
2019
Water Colour on Paper
25 x 33.5 cm

Aimee Lindeque Seeking Blue 2019 Water Colour on Paper 53.5 x 47.5 cm

Aimee Lindeque
Seeking Blue
2019
Water Colour on Paper
53.5 x 47.5 cm

Georgia Lane

Georgia Lane first developed her resourceful and innovative approach to painting while living in Greece with limited access to resources. Her background in graphic design and marketing, as well as her love for art as she was growing up lay very firm foundations for her growth into the painter we know and love today. Having exhibited and been represented by prestigious galleries, Georgia Lane has presented solo bodies of work and been featured at the Cape Town Art Fair. Her work has been collected by international art lovers and is housed in New York, London, Chicago, Philadelphia, Sydney, Dubai, Stockholm, Cape Town and Johannesburg. She works from memory and as such, her paintings become a meditative process in which she participates with subconscious aspects striving foremost for honesty and simplicity of thought.

Georgia Lane Motherhood 2014 Mixed media 122 x 152 cm

Georgia Lane
Motherhood
2014
Mixed media
122 x 152 cm

Geogia Lane Balancing Act (Diptych) 2014 Acrylic and Mixed media on Canvas 200 x 200 cm

Geogia Lane
Balancing Act (Diptych)
2014
Acrylic and Mixed media on Canvas
200 x 200 cm

Hanna Noor Mahomed

Hanna Noor Mahomed is a student currently in her final year of a Bachelor of Arts in Contemporary Art at Cape Town Creative Academy.

“I am fascinated with the relationship between material: particularly observing the dichotomies between elements, often constructing a narrative in and of themselves. Through a repertoire of intuitive installation and experimental play, art-practice for me acts as a conduit for catharsis: often heavily based on my surrounding circumstances. Using and referring to powdered-spice as a reanimated material morphs into a medium to highlight a subjective experience; situated within the context of my own history, reality and lived experience.”

Hanna Noor Mahomed Asian Girls III Part of Series Stuff White People Like Wood, turmeric powder, cumin powder, chilli powder 2019

Hanna Noor Mahomed
Asian Girls III Part of Series Stuff White People Like
2019
Wood, turmeric powder, cumin powder, chilli powder
Sizes Vary

Hanna Noor Mahomed Asian Girls IV Wood, turmeric powder, cumin powder, chilli powder, gouache 2019 16,2 x 38 cm

Hanna Noor Mahomed
Asian Girls IV
2019
Wood, turmeric powder, cumin powder, chilli powder, gouache
16,2 x 38 cm

Romi Flowers

Romi Flowers (Born Romi Geldenhuys in 1992) is a self-taught contemporary multimedia, figurative and abstract painter from Cape Town. Growing up, Flowers always had a natural affinity for the arts, from drama, and music, to several various forms of dance, and art mediums. In 2008, she began taking art classes at the formally known art school, Frank Joubert and was placed in the drawing class. After graduating high school in 2010, Flowers went on to study Fashion Design At CPUT, Cape Town, where she received her diploma in 2015.

In 2017 she adopted the pseudonym, Romi Flowers, as her artistic channel, from Ramona Flowers, a character in her favourite graphic novel series, Scott Pilgrim. She connected with the characters ideals and way of thinking, as well as having certain identical physical aspects such as their hair.

Romi Flowers expresses her double edged sword view of reality through a brightly contrasted genre of portraiture, where she deals with the concepts of social issues that are troubling our young. Flowers uses her art as a way to communicate those social issues deemed difficult to speak about (like beauty stereotypes, abuse, rape, gender, and mental health awareness) by applying a filter of flowers and playful colour combinations.

‘’You don’t have to be a genius to be an artist or to understand it or to love it, but an artist can be a genius. The answer to Art lies in the art itself. You just have open your heart, and close your ‘eyes’. Art is a matter of opinion, and every individual has their own.  I can’t give you All the answers, there are somethings words have no value explaining what imagery can entice. Tell me how you see it.” – R.F.

Romi Flowers My Power 2018 mixed media on canvas 59 x 84 cm

Romi Flowers
My Power
2018
mixed media on canvas
59 x 84 cm

Romi Flowers Just like a rose 2018 mixed media on canvas 90 x 90 cm

Romi Flowers
Just like a rose
2018
mixed media on canvas
90 x 90 cm

Romi Flowers Everything is Fine 2018 mixed media on canvas 118 x 84 cm (diptych)

Romi Flowers
Everything is Fine
2018
mixed media on canvas
118 x 84 cm (diptych)

Romi Flowers Blue Monday 2019 mixed media on canvas 118.6 x 83.6 cm

Romi Flowers
Blue Monday
2019
mixed media on canvas
118.6 x 83.6 cm

Kirstin Warries

My name isn’t K-Juizy
It’s actually Kirstin Warries
I’m from Bellville South
Where the mense buy kwaai takkies
And they yak branded gap
Even all the small laaities.
Mense skit and dance to Youngsta and Kendrick
See, Hip-Hop is a style that I see everyday.
I also hear it in the streets
From houses all the way from my house
2 blocks from the source of music.
If it’s not loud bra you ain’t doing it properly.
But I ain’t hear female rappers in my city
Patty Monroe, Dope Saint Jude,
Are foreign to the South.
These Women from the city want to make it in the industry
But brasse wys them sousies,
Because they all have titties.
Slavery’s still here in a form not so clear;
Women bounded by stereotypes and privileges of men.
We all want a chance to do what we feel.
There’s too many injustices
that need to be confronted right here.
I make art about women who deserve chances that are fair.
If you don’t like my art
Just leave it right there.

Kirstin Warries Freedom of Expression 2018 Acrylic on cotton 53 x 76 cm

Kirstin Warries
Freedom of Expression
2018
Acrylic on cotton
53 x 76 cm

Kirstin Warries Time to Leaf 2018 Acrylic on cotton 37 x 31 cm

Kirstin Warries
Time to Leaf
2018
Acrylic on cotton
37 x 31 cm

Kirstin Warries Your love echoes strength 2019 mixed media 25 x 30 cm

Kirstin Warries
Your love echoes strength
2019
mixed media
25 x 30 cm

Kirstin Warries Revolutionary Pink Aura 2019 mixed media 54 x 41 cm

Kirstin Warries
Revolutionary Pink Aura
2019
mixed media
54 x 41 cm

Kirstin Warries More than enough 2019 mixed media 42.5 x 32 cm

Kirstin Warries
More than enough
2019
mixed media
42.5 x 32 cm

Kirstin Warries Different versions of myself 2019 mixed media 64 x 62 cm

Kirstin Warries
Different versions of myself
2019
mixed media
64 x 62 cm

Clare Patrick

Clare Patrick was born and raised in Cape Town. Currently living, working and studying in Brighton, she is completing an MA in Photography: History, Theory and Practice at the University of Sussex. She graduated with Distinction for her BA/FA (hons) at the University of Cape Town’s Michaelis School of Fine Art.

Her practice sits at intersections and across mediums, interested in the layering of disciplines and tools, from photography studios to stages and theatres to green houses and florist fridges. Clare has exhibited in various exhibitions in Cape Town and has worked in the arts industry as a curator, writer and workshop facilitator for the past 5 years.

Clare Patrick 3, a self portrait (series of 3) 2017 Inkjet print on duratrans 167 x 111 cm
Clare Patrick 3, a self portrait (series of 3) 2017 Inkjet print on duratrans 167 x 111 cm

Clare Patrick
3, a self portrait (series of 3)
2017
Inkjet print on duratrans
167 x 111 cm

Clare Patrick 3, a self portrait (series of 3) 2017 Inkjet print on duratrans 167 x 111 cm

Luami Calitz

Luami Calitz graduated with a BA Fine Art from Stellenbosch University in 2012. She now lives and works in Cape Town, working in a shared artist studio space.

Working across the mediums of drawing, textile and illustration, Luami’s work are whimsical, playful and mythical. They offer a window into a similar but more brightly coloured reality of certain instances. Her work is inspired by Science Fiction, medieval art and sartorial Instagram accounts. Often narrating tongue- in-cheek events through a sarcastic and cynical lens, Luami’s creations herald the notion of Strong Womxn while also allowing for an appreciation of those who are still trying to figure it all out.

Luami Calitz Resting in Peace 2019 mixed media 25 x 28 cm

Luami Calitz
Resting in Peace
2019
mixed media
25 x 28 cm

Luami Calitz Wishing Well 2019 mixed media 80 x 58 cm

Luami Calitz
Wishing Well
2019
mixed media
80 x 58 cm

Nava Derakhshani

Nava Derakhshani is a multimedia artist, activist and story worker whose journey follows the earth. She has a background in architecture which developed her artistic and design skills. It grounded her thinking in post colonial theory and emphasised the layered social and environmental impacts of art and design. Her Master’s in Sustainable Development took her to rural Ethiopia where she sought timid narratives of soil and resilience. This narrative based approach has been central to her work, using storytelling to understand and communicate the nuances of peoples’ lived experiences in the development and NGO field. From soil back to earth, She is revisiting her love for clay and has been taking classes and producing bodies of work at TAB Ceramic Studio in Cape Town since 2015.

“I am currently developing an artistic series of stylised sculptures in clay, exploring themes of identity and non-binary gender and sexuality. My current exploration with clay sees the merging of colours together and alongside one another, which is a new area of exploration in the field. The couples I am building are built from different colours of clay, to represent different tonalities of skin and ethnicity. For me, this is a project of representation, showing love in all the forms which media often neglects.“

Nava Derakhchani The Ears 2019 Mixed media ceramic sculpture 25 x 17 x 41 cm

Nava Derakhshani
The Ears
2019
Mixed media ceramic sculpture
25 x 17 x 41 cm

Nava Derakhchani Khanum 2019 Mixed media ceramic sculpture 23 x 10.5 x 45 cm

Nava Derakhshani
Khanum
2019
Mixed media ceramic sculpture
23 x 10.5 x 45 cm

Nava Derakhchani Orgasm 2019 Mixed media ceramic sculpture 24.5 x 17 x 43 cm

Nava Derakhshani
Orgasm
2019
Mixed media ceramic sculpture
24.5 x 17 x 43 cm

Nava Derakhchani Sheba 2019 Mixed media ceramic sculpture 22.5 x 10.5 x 44 cm

Nava Derakhshani
Sheba
2019
Mixed media ceramic sculpture
24.5 x 17 x 43 cm

Nava Derakhchani The Tie 2019 Mixed media ceramic sculpture 25 x 13.5 x 46 cm

Nava Derakhshani
The Tie
2019
Mixed media ceramic sculpture
25 x 13.5 x 46 cm

Nava Derakhchani Mozaic Queen 2019 Mixed media ceramic sculpture 20.5 x 10.7 x 40.3 cm

Nava Derakhshani
Mozaic Queen
2019
Mixed media ceramic sculpture
20.5 x 10.7 x 40.3 cm

Novisha Steyn

Novisha Steyn was born in Mauritius in 1993 and upon completing her high school years she moved to the city of Cape Town where she joined City Varsity in 2013 to study Motion Picture Make-up because of her interest in the human form.

The following year she moved to the Eastern Cape to pursue Fine Arts at Rhodes University, where she further consolidated ideas that centred around the discourse of the manipulation of the human body through artworks. Notions of the body grew stronger as protests arose around campus and students used their bodies as an element of disruption as a means to oppose social and political injustices.

In her collection of artworks, Novisha produces unfinished oil on canvas paintings, depicting young women in a state of vulnerability and frustration towards their own bodies. This counters the generally depicted picture-perfect images constantly uploaded and posted on social media of beautiful young women – that fit within Western beauty standards whilst being captured in an idealistic scenery. Thus, by taking the narrative away from a typically male constructed framework, Novisha challenges the norms of how women are narrated within social platforms.

Novisha Steyn Tayla 2017 oil on Canvas 150 x 120 cm

Novisha Steyn
Tayla
2017
oil on Canvas
150 x 120 cm

Novisha Steyn Tayla 2017 oil on Canvas 150 x 120 cm

Novisha Steyn
Tayla
2017
oil on Canvas
150 x 120 cm

Novisha Steyn Shannon 2017 oil on Canvas 150 x 120 cm

Novisha Steyn
Shannon
2017
oil on Canvas
150 x 120 cm

Novisha Steyn Simone 2017 oil on Canvas 150 x 120 cm

Novisha Steyn
Simone
2017
oil on Canvas
150 x 120 cm

Novisha Steyn Lasego 2017 oil on Canvas 150 x 120 cm

Novisha Steyn
Lasego
2017
oil on Canvas
150 x 120 cm

Morgan Kunhardt

Morgan Kunhardt is an emerging South African artist who is currently residing in the Midlands – KwaZulu-Natal. She was born in 1994 and grew up on a small farm that rested beneath the foothills of the Southern

Drakensberg. Morgan Kunhardt studied Fine Art at Michaelis School of Fine Art, in Cape Town, completing her degree in Photography in 2017. She first exhibited outside Michaelis in 2017 in a group show called By Way of Hand, which took place at Orms Cape Town school of Photography. Then exhibiting at Eclectica Contemporary in a show titled: Stop Stop Click: a group show, followed by an exhibition titled New Dawn at Eclectica Design and Art. Morgan Kunhardt works in a variety of alternative photographic mediums; her most recent body of work demonstrates her interest in collage. Her work has included themes such as impermanence, memory, heritage and her relationship to her twin sister.

Morgan Kunhardt Lend a Hand (2of15) 2018 Digital Collage 40.5 x 33 cm

Morgan Kunhardt
Lend a Hand (2/15)
2018
Digital Collage
40.5 x 33 cm

Morgan Kunhardt Untitled (1of15) 4 x 5 Large format photograph printed with archival pigment on Tecco Matt 230gm 32 x 37cm

Morgan Kunhardt
Untitled (1/15)
4 x 5 Large format photograph
printed with archival pigment on Tecco Matt 230gm
32 x 37cm

Duduza Mchunu

Duduza Mchunu was born in 1995 and grew up in Johannesburg. In 2014 Duduza moved to Cape Town to begin her studies. Having majored in printmaking from UCT s Michaelis School of Fine Art, Duduza Mchunu creates work that seeks to challenge the status quo and speak for marginalised bodies. Although her major was in printmaking, Duduza creates work across various platforms and mediums often utilizing digital media as a form of immediate expression.

This work was created based off of personal experience with love. It made the idea of experience and feeling as something subjective rather than objective which is the way one thinks love is shared and seen universally. It plays on the many ideas one experiences when love is happening through memory, perception, permanence,image and emotion. By the use of photo transfer it takes and fades away from the reality of love itself warping it and creating a messy, lost, confusing and relative experience. We speak of truth being relative, how everybody has their own idea of what is taking place. But in the case of this work and personal experience something such as love which is a person at their most open and vulnerable with another believing they are one experiencing the same emotion when in fact what is attempted to be communicated within this work is that Love is relative.

Duduza Mchunu Love is Relative (1) 2019 Mixed media 32.5 x 24 cm
Duduza Mchunu Love is Relative (1) 2019 Mixed media 32.5 x 24 cm
Duduza Mchunu Love is Relative (1) 2019 Mixed media 32.5 x 24 cm
Duduza Mchunu Love is Relative (1) 2019 Mixed media 32.5 x 24 cm

Duduza Mchunu
Love is Relative
2019
Mixed media
32.5 x 24 cm

Kirsten Arendse

Since 2015, Michaelis alumni Kirsten Arendse has been fascinated by the concept of “non-beauty” and the ways in which western beauty standards have dictated women. Much of her artistic practice has involved the use of hair and its connotations to societal beauty, as it is one of many physical aspects of the body that many feel like they have to try and control, condition and maintain.

As a young coloured woman, Arendse has struggled with the idea of control, constantly trying to manipulate her hair to what she had been taught to be “beautiful”, until finally allowing her hair to be as it was intended to be. In some aspects of her culture, curly hair is deemed or has been deemed as undesirable. She explains that if you had curly hair in this way you were therefore labelled a “kroeskop” or a “bossiekop”. These are two of many terms that have negatively governed the appearance of non-European individuals for many years in efforts to other, segregate and demean.

For this exhibition, Arendse has taken this same concept and grappled with it in relation to methods of conditioning and control in efforts to try and challenge or allude to the hidden systems many communities of colour are still dictated by. She etching on perspex, to speak to ideas of manipulation and synthetic culture.

Kirsten Arendse Holding on to What’s Left. 2019 Mixed media installation 55 x 42 x 10 cm

Kirsten Arendse
Holding on to What’s Left
2019
Mixed media installation
55 x 42 x 10 cm

Kirsten Arendse For the Gram 2019 Mixed media installation 19.1 x 40.45 cm

Kirsten Arendse
For the Gram
2019
Mixed media installation
19.1 x 40.45 cm

Faatimah Mohamed-Luke

Faatimah Mohamed-Luke is a 37 year old artist and designer who lives in Cape Town- with her 2 cats, the husband and kid. In 2003, she graduated from Cape Technikon with ND: Fashion and also did a year of design encompassing Graphic, Interior, Industrial, Textile and Jewellery design disciplines. Faatimah is a founding partner of SA designer brand adam&eve. Three years ago, she resigned from fashion to focus on Art and Interior design. Her current focus is creating large-scale wall art made of plastic building blocks. She has had great success exhibiting at galleries and art fairs within South Africa and abroad.

“While on holiday in Morocco, 5 years ago, I fell in love with ornate, intricate patterns. It was everywhere, every surface was painstakingly adorned to perfection. I loved how much pride the locals took in creating such beauty, it spoke to different parts of my heritage; African and Arab. It was the first time I had witnessed parts of my heritage living together so gracefully. This is where I discovered the art of Tessellation i.e. a highly symmetric, edge-to-edge tiling using a simple porcelain shape. My hope is to highlight and recreate the art form of tessellation in a modern way using plastic building blocks. My favourite thing about about this medium is it being non-traditional. It allows for conversations about what art is, and what it could be. This allows for a playfulness and accessibility within the artwork and also within the art-world. It is something that is relatable to a broader audience. The works create a feeling of nostalgia and relevance, and is appreciated by all ages and backgrounds.

Faatimah Mohamed-Luke Reflections of a Queen II Ashanti – Grey, 2018 2089 ABS plastic building blocks adhered to Aluminium 65 x 53.5 cm

Faatimah Mohamed-Luke
Reflections of a Queen II
Ashanti – Grey, 2018
2089 ABS plastic building blocks adhered to Aluminium
65 x 53.5 cm

Faatimah Mohamed-Luke Reflections of a Queen II Yoruba – Grey , 2018 2107 ABS plastic building blocks adhered to Aluminium 65 x 53.5 cm

Faatimah Mohamed-Luke
Reflections of a Queen II
Yoruba – Grey , 2018
2107 ABS plastic building blocks adhered to Aluminium
65 x 53.5 cm

Faatimah Mohamed-Luke Reflections of a Queen II Ashanti – Pink , 2018 2091 ABS plastic building blocks adhered to Aluminium 65 x 53.5 cm

Faatimah Mohamed-Luke
Reflections of a Queen II
Ashanti – Pink , 2018
2091 ABS plastic building blocks adhered to Aluminium
65 x 53.5 cm

Sue Greeff

Sue Greeff is a Cape Town based artist. In 2012 she began her studies at UCT’s Michaelis School of Fine Art, where she later graduated as a painting major in 2015 with distinctions. Her practice is contemporary and conceptual, often based on ideas and experiences from her earlier careers in both the Medical and Interior Design worlds. Sue draws connections between seemingly unrelated ideas and visually explore these, to find and understand hidden relationships.

Her work is an exploration of femininity, reproduction and the body. Sue Greeff has drawn from her personal history as a midwife, pregnancies, births and the subsequent raising of her children. She has created evocative works, using latex as the predominant medium in the body of work. This conceptually ties into the focus of the work that not only speaks about sexuality but also alludes to the seductiveness of the largely ‘veiled’ industry of intimacy.

Sue Greeff,sorting the see from the dirt II 2018 ink on board 20 x 20 cm

Sue Greeff
sorting the see from the dirt II
2018
ink on board
20 x 20 cm

Sue Greeff resistance 2018 ink on latex. 67.5 x 44.5 cm

Sue Greeff
resistance
2018
ink on latex
67.5 x 44.5 cm

Sue Greeff mother II 2018 Ink on latex 20 x 20 cm

Sue Greeff
mother II
2018
Ink on latex
20 x 20 cm

Sue Greeff, pieta 2018 ink on latex 12 x 10.5 cm

Sue Greeff
pieta
2018
ink on latex
12 x 10.5 cm

Sue Greeff, iris 2018 ink on board 20 x 20 cm

Sue Greeff
iris
2018
ink on board
20 x 20 cm

Asuka Nirasawa

Japanese artist, Asuka Nirasawa, obtained her BA in Fine Arts at the Tokyo National University of Fine Arts and Music, where she majored in painting and printmaking. She has had numerous projects, group and solo shows in Japan and other countries such as India and South Africa. In 2015, she had a residency with Cape Town’s local Bag Factory, where she first was exposed and inspired by African fabrics. Nirasawa’s travels have had a great influence on her practice stylistically.

Asuka Nirasawa - A Medium of a Requiem in a Cell 5 2017 ink, acrylic and pigment print on Kakita 85.5 x 106 cm (framed without glass)

Asuka Nirasawa
A Medium of a Requiem in a Cell 5
2017
ink, acrylic and pigment print on Kakita
85.5 x 106 cm (framed without glass)

Asuka Nirasawa - A Medium of a Requiem in a Cell 8 2017 ink, acrylic and pigment print on Kakita 85.5 x 106 cm (framed without glass)

Asuka Nirasawa
A Medium of a Requiem in a Cell 8
2017
ink, acrylic and pigment print on Kakita
85.5 x 106 cm (framed without glass)

Asuka Nirasawa - Cytokinesis 8 2017 Fabric and acrylic medium on handmade paper 59 x 31 cm

Asuka Nirasawa
Cytokinesis 8
2017
Fabric and acrylic medium on handmade paper
44.5 x 72 cm (framed)

Asuka Nirasawa - Cytokinesis 9 2017 Fabric and acrylic medium on handmade paper 59 x 31 cm

Asuka Nirasawa
Cytokinesis 8
2017
Fabric and acrylic medium on handmade paper
44.5 x 72 cm (framed)

Asuka Nirasawa - Cytokinesis 10 2017 Fabric and acrylic medium on handmade paper 59 x 31cm

Asuka Nirasawa
Cytokinesis 10
2017
Fabric and acrylic medium on handmade paper
46 x 68 cm (framed without glass)

Asuka Nirasawa - Cytokinesis 11 2017 Fabric and acrylic medium on handmade paper 59 x 31 cm

Asuka Nirasawa
Cytokinesis 11
2017
Fabric and acrylic medium on handmade paper
44 x 72.5 cm (framed without glass)

Asuka Nirasawa - Cell Division, 952 Cells 2018 fabric, acrylic medium, rhinestone, pencil on canvas, 150 x 200 cm

Asuka Nirasawa
Cell Division, 952 Cells
2018
fabric, acrylic medium, glitter, pencil on canvas
150 x 200 cm