This year, Aesthetica Magazine has interviewed some of the world’s leading artists, photographers and architects. These conversations reveal insights into how, and why, contemporary art is made, raising awareness about today’s most pressing socio-political issues. Here are some of our favourite quotes:
Kazuaki Koseki, on photographing fireflies in Japanese landscapes:
“After a while, my eyes became accustomed to the darkness and countless lights started to glow. it was light a starry sky. The forest, which had seemed so terrifying, spread out before my eyes and became the most beautiful I had ever seen – thanks to the Himebotaru [fireflies].”
Gleeson Paulino, on capturing the decisive moment:
“My process is very much about feeling. When I click the shutter, I can already sense if the image is right – it’s the magic of the moment. I don’t work too much on the files afterwards. I’m not attached to equipment and often use different cameras. For me, it’s not about the gear; it’s about the emotion the images create.”
Laclan Turczan, on using light and water to create sculptures:
“The work began with a simple wish: to sculpt light as if it were a physical material. I discovered that water vapor could serve as a medium that reflects and bends light in surprising ways … Each site became a laboratory for exploring how light could be given structure through its interaction with water in the air.”
Andoni Beristain, on the the power of photography:
“Photography has helped me express what I can’t put into words, and to tell a story visually. I think that’s where I feel most comfortable. It also allows viewers to understand the images in their own way. I love the idea that everyone can have their own interpretation of what they see.”
Patrick Bingham-Hall, on the future of architecture:
“The future of architecture, never mind the design of tropical houses, is over-ridden by the great existential dilemma of climate change. Vinu Daniel from Wallmakers Architects, based in Trivandrum, India, states that: “In place of questions like ‘what should we build?’, we need to be asking, ‘Should we build?'”
Thirza Schaap on making art from plastic found in the ocean
“Plastic Ocean questions consumption, idolatry and what it is we value in our lives today. The effect is a quirky, playful and pop art paradox: the pictures show a clash between worlds. At a first glance … its dainty appearance almost seems to gloss over the ugliness of the plastic pollution. But only for an instant.”
Brooke DiDonato, on how she sets up her surreal scenes:
“The majority of my images are possible, and they did happen. I have constructed the scene myself. So, in a way, it’s not surreal – just unexpected. They’re almost always practical effect, and I’m not trying to trick the audience. If something is hanging, I’ve used fishing line. Oftentimes, I’ll leave that in the final image.”
ScanLAB, on how new technologies open up fresh ways of storytelling:
“In 3D scanning technologies, we found a tool that could observe the world in a way that is undeniably real, photographic and believable, whilst also having all the playful, malleable possibilities of 3D design. We believe in the create power of intimately knowing your tools; that’s how you discover new ways of seeing.”
Squidsoup, on the unique power of site-specific installations:
“Each time we put a piece up it is unique: it is in dialogue with its surroundings, is porous and mixes with its environment and the people in it, creating a different result each time. We show at winter light festivals, around stately homes or botanical gardens.”
Sarah Meyohas, on her approach to artistic expression:
“Fluidity is essential to my approach. Each idea dictates its own form, and I want my practice to remain responsive – to evolve alongside new technologies, new contexts, and new ways of seeing. Restricting myself to a single medium would be like trying to tell every story with the same vocabulary.”
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Image Credits:
1. Sarah Meyohas, Light Speculation #5, (2023). C-Print. Image courtesy the artist and Marianne Boesky Gallery.
2. Kazuaki Koseki, Rich Deep Forest, (2018). From Hotarubi – Summer Fairies. Archival pigment print, Handmade Japanese traditional Ise-washi paper. Image courtesy the artist.
3. Gleeson Paulino, Untitled, Camanducaia, MG, Brazil. From Atmos Magazine, (2023). Styling: Marcell Maia. Beauty: Branca Moura.
4. Gleeson Paulino, I am I am I am, Anavilhanas, AM, Brazil. From Baptismo (2019).
5. Image courtesy Studio Lachlan Turczan.
6. Andoni Berstain, Flags, from the series Pieza Madre. Image courtesy of the artist.
7. Andoni Berstain, Mirror, from the series Pieza Madre. Image courtesy of the artist.
8. Wallflower Architecture + Design, Touching Eden House, Singapore. (2023). © Patrick Bingham-Hall.
9. Thirza Schaap, Lotus, from Plastic Ocean. © Thirza Schaap.
10. Thirza Schaap, Bluebird, from Plastic Ocean. © Thirza Schaap.
11. Brooke DiDonato, Odd One Out, (2016). Image courtesy of the artist.
12. ScanLAB Projects, FRAMERATE: Desert Pulse, Echinopsis Bourne Mischief, (2025). Pointcloud animation still. Image courtesy of the artist.
13. ScanLAB Projects, FRAMERATE: Desert Pulse, Aylostera Pulchella, (2025). Pointcloud animation still. Image courtesy of the artist.
14. Submergence, (2023). City of Light Jyavälskylä, Finland. Image: Michelle Leck / Squidsoup.
15. Sarah Meyohas, Light Speculation #2, (2023). C-Print. Image courtesy the artist and Marianne Boesky Gallery.
16. Sarah Meyohas, Light Speculation #8, (2023). C-Print. Image courtesy the artist and Marianne Boesky Gallery.
