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Collect Art, Tbilisi (2026)

13/08/2026

Jagmeet Singh/ Summer Issue

Hailing from the busy streets of Delhi, it is really not a surprise that I picked up the camera when I did. Quickly jumping on to the street photography scene in Old Delhi paired with the carefully curated world of culinary photography, I managed to live the artistic way of order and chaos. My work ranges from intimate portraits to the immediacy of street scenes. I draw inspiration from the world around me - from small details on the skin of left out tea to the Goliathan architecture of London that makes one feel smaller than a grain of rice. The medium that has chosen me gives me power with its restrictions of being able to produce only a single frame to tell a whole story and I respect it.

13/08/2026

Mercury.N/ Summer Issue .n.art

Mercury is an artist working across hybrid and cross-disciplinary approaches. From a cross-cultural perspective, her practice explores hidden cultural phenomena shaped by ambiguity within different social environments.
She often works with mixed media to express complex and contradictory conditions. For her, photography holds a paradoxical quality: it freezes a moment while allowing it to extend beyond time. Building on this, she captures moments that reveal forms of existence shaped by absence—of language, recognition, or visibility. These images are further developed through layering, printing, painting, and hand embossing, engaging both visual and tactile perception.
Her ongoing project, Love Letter, reflects on the visible yet concealed nature of q***r intimacy within the cultural context of China, while also addressing broader questions of how affection is expressed and understood.
The work originates from a personal experience. Letters exchanged between the artist and her partner were reinterpreted by family members as a harmless friendship. When one letter was later found hidden and unopened, this act of quiet avoidance became central to the project.
Through layered photographic images, figures appear simultaneously connected and separated, meeting through gestures such as touching and holding. Braille is embossed at points of overlap, forming intimate texts that may first seem unfamiliar or unreadable. Through fragmented encounters between image, touch, and language, Love Letter invites viewers to encounter intimacy beyond assumption and to reconsider what is seen, felt, and understood.

13/08/2026

Glenn Thomas/ Summer Issue

Making art seems to be a reaction to my being in this temporary human visit we all experience. It began with the impulse to make things, chairs, tables, even a small boat. I ran out of functional objects to make, and at my brother's suggestion, began to paint and make art. I was free of the functional objects and, unknown to me at the time, began an inner journey with endless possibilities. This practice continues to this very day. There is a never-ending joy in the process of making something that has never existed, that collaborates with me in its development. Primal fears, complex relationships, and eternal questions disappear. The often violent events that take place on the planet, and a society that seems to accept being born, growing up, and dying as something logical, have always puzzled me, and I have done my best to try to avoid getting too involved. The proverbial space between art and life seems to be disappearing as I approach the end of my visit. Where the forms, images, colors come from, I have no idea… As luck would have it, I am not alone in this occupation and can derive great comfort in perusing the history of art, which inspires and eases any loneliness.

13/08/2026

/ Summer Issue

Wurm is an artist, educator, and curator engaged in expanding the community forum for contemporary art dialogue. Having lived in California, where she received a B.A. from the University of California, Los Angeles, and Europe, where she received an M.A.R.C.A. from the Royal College of Art in London, Jan Wurm has honed an eye for social patterns and conventions. She currently divides her time between Berkeley and L.A. and her hand between drawing and painting. As an artist, Wurm has been engaged by the familiar and challenged by the unknown. Her paintings, drawings, and artist's books examine daily life to reveal aspects of contemporary culture that inform our relationships. This graphic body of work has spanned time and geography in over a hundred exhibitions in California, New York, Canada, England, the Netherlands, Belgium, Austria, and Italy. Wurm has been the recipient of five grants from the Center for Cultural Innovation and a commission from the Del Sol String Quartet funded by Chamber Music America.

12/08/2026

/ Summer Issue

Serena Nassini is a multidisciplinary artist, clarinettist and educator based in Leeds, UK. Working across visual arts, music, and community engagement, she has cultivated a diverse practice that transcends traditional boundaries between artistic disciplines. Nassini's conceptual artworks—spanning installations, drawings, paintings, mixed media, performance, soundscapes, and participatory projects—are grounded in intersectional feminist and ecological principles. Her practice invites viewers to experience art as a catalyst for both personal and societal transformation. Serena Nassini is the founder of the artistic safe space Nassini Fine Art.

12/08/2026

/ Summer Issue

Rebecca Taylor is a contemporary British artist based in West Yorkshire, UK. She primarily works with acrylic paint and then incorporates diﬀerent mediums, including graphite, spray paint, salt, rice, and suminagashi, to explore themes of everyday life. She studied Fine Art at A-Level at Greenhead College, pursued an art foundation at Leeds College of Art, and then paused her artistic development while studying at University and navigating the world of work. In 2020, during the COVID-19 pandemic, Taylor reengaged with her creative practices, starting with her 10-year-old art equipment and a ream of A3 printer paper. Today, she has developed an intuitive collage-like style of painting that fuses sensory elements from moments in time. Each artwork can be decoded to tell a story from Taylor’s perspective.

12/08/2026

/ Summer Issue

Geraldine Leahy is a contemporary landscape artist with an interest in environmental concerns. She returned to education to study art with The Open College of the Arts, the distance-learning partner of The University for the Creative Arts (Farnham, England). A lifelong interest in landscape and the natural world informed her degree studies, and, in her final project, she focused on the damaging effects of coastal erosion on one of her local beaches. She has continued to engage with this subject since earning a BA (Hons) in Painting in 2022.
Regular visits to the beach have made the artist aware of the entanglement of natural and manmade materials on the shoreline and of the detrimental effects the latter has had on the littoral environment. Ironically, Leahy’s use of manmade debris such as plastic and rope, which she embeds into the painting surface by monoprinting, often results in artworks that possess attractive, organic, and flowing qualities. These seemingly innocuous characteristics confirm that manmade materials are stealthy and contagious adversaries, becoming entangled with and imperceptible from their natural counterparts as they contaminate the environment.
The artist hopes that by highlighting these incongruities, the viewer will be drawn to reflect on the effects their own actions might have on the environment. Consequently, Leahy continually engages with opportunities to submit work to art publications, awards, and exhibitions as a way to bring this concern to a wider audience.

12/08/2026

Nadia Kissel/ Summer Issue

The works in this series are a visual diary of my daily walks along Diani Beach in Kenya. The Indian Ocean is never the same; it is in a constant state of transformation, changing its colours, moods, and rhythms with the shifting light and tides. Alongside these coastal observations, I have included paintings inspired by the visit to Tsavo National Park. The spectacular sunrises and sunsets, together with the richness of the landscape, create an ever-changing palette of extraordinary colours and forms.
Watercolour feels like the most natural medium for capturing these fluid and transient environments. Its transparency and unpredictability mirror the movement of water, the softness of the sky, and the fleeting qualities of light. It is also my preferred medium when travelling, allowing me to create an improvised studio beneath a tree or directly on the sandy shore, immersed in the landscape that inspires the work.
I consider these paintings to be an emotional diary; a record of moments spent in close dialogue with nature. They reflect my sense of wonder and deep appreciation for its beauty, power, and constant transformation. Through these works, I hope to share with viewers the quiet joy, contemplation, and connection I experienced while painting, and to invite them to pause and rediscover the poetry of the natural world.

12/08/2026

/ Summer Issue

Natalie Jane is a q***r artist living and working in West Yorkshire, United Kingdom. Working primarily with oil pastels and wax pastels, the practice centres on illustrations of natural forms inspired by the surrounding landscape. Experimentation with colour offers a way of appreciating the natural world while acknowledging that its beauty can never be fully replicated. Bold, expressive mark-making and the freedom to use any colour create space for an intuitive interpretation of the landscapes that inspire the work.

12/08/2026

.art / Summer Issue

Katie Lee is a Leeds-born, Liverpool-based multidisciplinary artist and creative with a BA in Fine Art: Painting from the University of the Arts London. Her practice spans painting, sculpture, photography, printmaking, and installation, and explores fragmented, assemblage-based, and layered approaches to image-making. Drawing on psychogeography, her work considers how experiences of space are constructed, navigated and understood.

Series of ‘States of Light’
This body of work sits at the intersection of digital and material image-making, where images are repeatedly broken down, reworked and reassembled through processes of scanning, photography, digital manipulation, digital painting, printing and further intervention. Images move through cycles of translation between photographic, digital and material forms, where no stage is ﬁxed and each iteration becomes a new point of construction. Alongside a painterly approach to layering and surface construction, I assemble imagery from multiple forms of information, including visual fragments, sensory experience, memory and environmental conditions such as light, seasonal shifts and weather. Transient environments are understood in parallel with transient image forms, with both environments and images shifting and reconﬁguring over time. Light operates as a central driver of this process, shaping both the making and reading of the work. It is captured through photography, used materially in processes such as cyanotype, and embedded within the construction of images through luminosity, shadow and tonal variation. Windows recur as structural devices, acting as thresholds through which light enters and negotiates the boundary between interior space and external environment, forming a continual light and material encounter through which each image is formed.

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