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If you take a look across your room, what can you notice about the decoration? In the majority of homes, we encounter commercialized, regular items. Although they might come from your favorite thrift store or Ikea, one thing is for sure - they are welcomed by the masses.
And as easy as it might be to neglect the effort of your amazing thrift store owner or designers in Ikea, we need to go to the stream of their work.
How they develop their design? Where do they start? Where does the inspiration come from? Surprisingly or not, most of them have deep knowledge of the History of Art and design itself. One of their major advice is to visit the museums. Go through the old photos, search for young inspiring people. In the journey of "developing the skill", we encounter Anouk Pantovola. A girl with a wild imagination and great skills that bring her thoughts to life.

Where are you from? Where does the art journey start for you?


I originally hail from The Netherlands, but I have lived in London, Scotland and Spain for most of my adult years
My art journey began from the day I could hold a pencil in my hands. I began to draw and paint and never stopped.
As a child I made cloth dolls with my mother at home and I have very fond memories of that.
We would use an old sock for example which we filled with cotton and dried lavender, and decorated it like primitive small dolls.


Later on we used paper mache for doll making.
I always knew I wanted to be an artist and never had any other career ideas, except for a little while when I wanted to be an archeologist..
I studied Fine Arts in Arnhem where I learned about puppet stop-motion animation. This rekindled my love for puppets and miniature worlds.
But Pantovola was born some ten years after graduating art school, in 2015, when I lived on a narrow canal boat in London and I did not have much space for art making. I remembered the small cloth dolls I made at home with my mother for which not much else was needed than some fabrics, needle and thread. The first Pantovola dolls were born there, and it was the beginning of this journey.


What is the first emotion that drives you towards creating an art piece? Do you recognize the connection immediately and let yourself flow on the creative process? Or do you "bake" the inspiration for some time?


Stories are always developing in my head, at all times, and my work directly derives from these stories.
But the story can be seen as a whole, a world or kind of universe, where all these ideas and creatures meet and live, they are all connected somehow.
When I create, I do not plan ahead too much, I let the work create itself, I let it use my hands and yes, in that sense I go with the flow.
But the heart and soul of everything I make has its roots in these worlds I have been creating in my mind since I can remember.


What is the backstory of your design? Because every one of us sees the world through separate lenses. How hard it must be to transfer it to other people?


I believe that there are things we all, as humans, recognize, some kind of archetypes that we have a deep understanding of. I have always had a great love and fascination for fairytales and folklore, and a lot of the themes, objects and subjects in these tales are, I believe, universally understood. We all understand at some level what they mean and what they are telling us.
I hope that my work has a similar effect in the sense that I do not wish to explain too much, but I hope that the work speaks for itself.
Perhaps it says different things to different people, that is okay, as long as it speaks of something and that a glimpse of the Pantovola world can be discovered through the eyes of the dolls.


When it comes to making a living from your art, what are the main struggles? And what would be your advice for starting artists?


For me the main struggle is money itself, I don't like money, but we all need it to live.
To connect something so magical to me as my work to something so mundane and sinister as money, is the difficult bit. However, it is a truth of the world and there is just no escaping from that. So I see it as wearing different 'hats' for different occasions. When it comes to selling my work, I have to be practical and I put my 'real world hat' on.


But when I create, I leave that hat somewhere far out of sight in the shadows.
My advice for starting artists would be to always look within, to what is unique about you. And to not let social media and all the images that are thrown your way distract you from what YOUR unique vision is. To try not to compare yourself to others too much. There is only one you who can create what you create, and that should be your focus, in my opinion.

And keep at it even though everyone around you may be telling you that your dreams of being an artist are silly. They are not silly, they are magical, and also achievable.
I very much like reading about the lives of artists from the past, and it mesmerizes me to find out about all their struggles and tribulations. Yet despite all these horrid things these people endured, they managed to leave a legacy of beautiful works of art.
This not only helps me put my own struggles into perspective, it also gives me hope that beauty is the thing that prevails in the end.

What do you prefer, single pieces or storytelling through a whole project? And what approach do you use in each case?


I like to work on bigger projects sometimes because there is a great focus within that. But I am often also a little impatient and I like to see results quickly, so this is what I love about making my Pantovola Petit figurines;
they come to life from idea to finished doll in a fairly short amount of time, and that can be really satisfying.
But as I mentioned earlier, the larger story is always at the root of everything I make, so not one piece really stands alone, if that makes sense.



Why do you use certain materials? What connects you with them, and makes you feel they are perfect for your art piece?


My favorite materials are old textiles, with worn threads and perhaps a coffee stain spill that escaped a dainty porcelain cup in 1892.
So I collect and am sometimes gifted, antique textiles and lace.
The history in the threads, the secrets, the stories, the hands that held these fibers, is what makes working with these materials so special to me,
It feels like a connection to a larger story.
But I also absolutely love painting on fabric, and for these purposes I use unbleached cotton which I firmly stuff with recycled cotton fluff filling, to create the doll or sculpture.
This then makes for a great surface to paint my creature's faces on, and adorn them with what I like to call '3-D paintings"


What does ART, in general, mean to you?


Art is life. It is the blood that makes us human because in it we reflect who we are and how we perceive the world around us.
Art gives meaning to our lives. I believe it is as vital as food, water, and oxygen.

The FOURLINEdesign team would like to thank Anouk Pantovola for sharing inspiring thoughts with our community.

If you take a look across your room, what can you notice about the decoration? In the majority of homes, we encounter commercialized, regular items. Although they might come from your favorite thrift store or Ikea, one thing is for sure - they are welcomed by the masses.
And as easy as it might be to neglect the effort of your amazing thrift store owner or designers in Ikea, we need to go to the stream of their work.
How they develop their design? Where do they start? Where does the inspiration come from? Surprisingly or not, most of them have deep knowledge of the History of Art and design itself. One of their major advice is to visit the museums. Go through the old photos, search for young inspiring people. In the journey of "developing the skill", we encounter Anouk Pantovola. A girl with a wild imagination and great skills that bring her thoughts to life.

Where are you from? Where does the art journey start for you?


I originally hail from The Netherlands, but I have lived in London, Scotland and Spain for most of my adult years
My art journey began from the day I could hold a pencil in my hands. I began to draw and paint and never stopped.
As a child I made cloth dolls with my mother at home and I have very fond memories of that.
We would use an old sock for example which we filled with cotton and dried lavender, and decorated it like primitive small dolls.


Later on we used paper mache for doll making.
I always knew I wanted to be an artist and never had any other career ideas, except for a little while when I wanted to be an archeologist..
I studied Fine Arts in Arnhem where I learned about puppet stop-motion animation. This rekindled my love for puppets and miniature worlds.
But Pantovola was born some ten years after graduating art school, in 2015, when I lived on a narrow canal boat in London and I did not have much space for art making. I remembered the small cloth dolls I made at home with my mother for which not much else was needed than some fabrics, needle and thread. The first Pantovola dolls were born there, and it was the beginning of this journey.


What is the first emotion that drives you towards creating an art piece? Do you recognize the connection immediately and let yourself flow on the creative process? Or do you "bake" the inspiration for some time?


Stories are always developing in my head, at all times, and my work directly derives from these stories.
But the story can be seen as a whole, a world or kind of universe, where all these ideas and creatures meet and live, they are all connected somehow.
When I create, I do not plan ahead too much, I let the work create itself, I let it use my hands and yes, in that sense I go with the flow.
But the heart and soul of everything I make has its roots in these worlds I have been creating in my mind since I can remember.


What is the backstory of your design? Because every one of us sees the world through separate lenses. How hard it must be to transfer it to other people?


I believe that there are things we all, as humans, recognize, some kind of archetypes that we have a deep understanding of. I have always had a great love and fascination for fairytales and folklore, and a lot of the themes, objects and subjects in these tales are, I believe, universally understood. We all understand at some level what they mean and what they are telling us.
I hope that my work has a similar effect in the sense that I do not wish to explain too much, but I hope that the work speaks for itself.
Perhaps it says different things to different people, that is okay, as long as it speaks of something and that a glimpse of the Pantovola world can be discovered through the eyes of the dolls.


When it comes to making a living from your art, what are the main struggles? And what would be your advice for starting artists?


For me the main struggle is money itself, I don't like money, but we all need it to live.
To connect something so magical to me as my work to something so mundane and sinister as money, is the difficult bit. However, it is a truth of the world and there is just no escaping from that. So I see it as wearing different 'hats' for different occasions. When it comes to selling my work, I have to be practical and I put my 'real world hat' on.


But when I create, I leave that hat somewhere far out of sight in the shadows.
My advice for starting artists would be to always look within, to what is unique about you. And to not let social media and all the images that are thrown your way distract you from what YOUR unique vision is. To try not to compare yourself to others too much. There is only one you who can create what you create, and that should be your focus, in my opinion.

And keep at it even though everyone around you may be telling you that your dreams of being an artist are silly. They are not silly, they are magical, and also achievable.
I very much like reading about the lives of artists from the past, and it mesmerizes me to find out about all their struggles and tribulations. Yet despite all these horrid things these people endured, they managed to leave a legacy of beautiful works of art.
This not only helps me put my own struggles into perspective, it also gives me hope that beauty is the thing that prevails in the end.

What do you prefer, single pieces or storytelling through a whole project? And what approach do you use in each case?


I like to work on bigger projects sometimes because there is a great focus within that. But I am often also a little impatient and I like to see results quickly, so this is what I love about making my Pantovola Petit figurines;
they come to life from idea to finished doll in a fairly short amount of time, and that can be really satisfying.
But as I mentioned earlier, the larger story is always at the root of everything I make, so not one piece really stands alone, if that makes sense.



Why do you use certain materials? What connects you with them, and makes you feel they are perfect for your art piece?


My favorite materials are old textiles, with worn threads and perhaps a coffee stain spill that escaped a dainty porcelain cup in 1892.
So I collect and am sometimes gifted, antique textiles and lace.
The history in the threads, the secrets, the stories, the hands that held these fibers, is what makes working with these materials so special to me,
It feels like a connection to a larger story.
But I also absolutely love painting on fabric, and for these purposes I use unbleached cotton which I firmly stuff with recycled cotton fluff filling, to create the doll or sculpture.
This then makes for a great surface to paint my creature's faces on, and adorn them with what I like to call '3-D paintings"


What does ART, in general, mean to you?


Art is life. It is the blood that makes us human because in it we reflect who we are and how we perceive the world around us.
Art gives meaning to our lives. I believe it is as vital as food, water, and oxygen.

The FOURLINEdesign team would like to thank Anouk Pantovola for sharing inspiring thoughts with our community.

Evie Chang is California based artist, who is well know for her sculptures.
Evie Chang is California based artist, who is well know for her sculptures.
Tomás Barceló Castelá, is a Spanish artist, who is half French from Montauban and half Spanish from Mallorca. He studied studied Fine Arts, specializing in Sculpture, at the Sant Jordi Faculty of the University of Barcelona, where he learned from J.S. Jassans
Tomás Barceló Castelá, is a Spanish artist, who is half French from Montauban and half Spanish from Mallorca. He studied studied Fine Arts, specializing in Sculpture, at the Sant Jordi Faculty of the University of Barcelona, where he learned from J.S. Jassans
Looking at Asya and Dimitri Kozin's art you get instantly charmed and, when the first impression calms down, you simply cannot believe that all of their work is made solely and completely of PAPER. In their work you can find different art directions completely living in peace and great beauty one with each other.
Looking at Asya and Dimitri Kozin's art you get instantly charmed and, when the first impression calms down, you simply cannot believe that all of their work is made solely and completely of PAPER. In their work you can find different art directions completely living in peace and great beauty one with each other.

Decorating your home can feel like one of the tasks on your to-do list. But after a couple of months of moving in you start noticing small things. Small things that maybe were rushed into.
So always take your time. No matter if you are planning a new life, or just treating yourself with a small item. It is always good to surround ourselves with items that give us great positive energy. That makes us smile, that pushes the positive thoughts into our head... The things that give value and bring more than what we gave for their price.
I love when we find people who think in the same direction and nurture the same values. One of those people is Jolene, the artist behind the River Ceramics, from the coast of Margaret River.

Where are you from? Where does the art journey start for you?

The art journey for me is driven by a question. I wonder? Curiosity, joy and interest in all the variable which contribute to a final outcome. As I come from a (building) design background, I have noticed that it is consideration of these elements bridging both function and aesthetic which keep me intrigued.


What is the first emotion that drives you towards creating an art piece? Do you recognize the connection immediately and let yourself flow on the creative process? Or do you "bake" the inspiration for some time?

I have experienced both a rush to experiment and try design ideas as soon as possible, and also, particularly as I mature, an interest in planting just a little seed and trusting that it will keep growing without my direct interference. As I spend so much time in the creative zone, I suspect it is somewhat of a rich soil, so I don’t always rush in anymore. My main emotional state is curious, excited, interested. I feel a freedom and safety in my current creative process.


What is the back story of your design? Because every one of us sees the world through separate lenses. How hard it must be to transfer it to other people?

The back story of my design process is equal parts a love of art and beauty, to a strong sense of practical application. I don’t love fluff and fancy, with a preference for everything having a dual purpose and to “make sense”. I think I have found it easier to adapt to spending time in a creative field for which there is a clear purposeful outcome. Perhaps I found it easier to find my value as an artist that way as I had something solid to lean into.


When it comes to making a living from your art, what are the main struggles? And what would be your advice for starting artists?

I have been very lucky in many many ways in my small artistic business. Although I acknowledge that I worked very hard, I can also see that timing was really on my side. My biggest piece of advise is that you need to be willing to fail. Take that prospect as lightly as you can, and see each mistake or failure as a rung to improving in some way. I am genuinely so grateful for all of my mistakes, but I think that was only possible as I had prepared myself in advance for them to be inevitable.


What do you prefer, single pieces or story telling through a whole project? And what approach do you use in each case?

I definitely prefer story telling through a whole project. I consider each collection like a rabbit hole, each with branching opportunities to explore. Some of them end quickly, and others lead deeper and deeper until the story is told.


Why do you use certain materials? What connects you with them, and makes you feel they are perfect for your art piece?

Similar to my reason for choosing art, and the factors which drive my design, my materials are chosen for both practical application and beauty. It has taken me a lot of trial and error to arrive and my current kit of materials. Additional to this is both environmental and personal considerations. I use natural earth materials, and locally sourced materials wherever possible, including wild clay which I procure and process from our own garden. This gives me such a deep sense of gratitude and connection to my work and the land we walk on.


What does ART, in general, mean to you?

Art to me is expression and freedom. It is an opportunity to explore those parts of ourselves with which we are not easily in touch with in most other parts of our lives. With the added element of tactile earth in my craft, it is also the opportunity to connect, ground and meditate.

The FOURLINEdesign team would like to thank Jolene for sharing inspiring thoughts with our community.

Decorating your home can feel like one of the tasks on your to-do list. But after a couple of months of moving in you start noticing small things. Small things that maybe were rushed into.
So always take your time. No matter if you are planning a new life, or just treating yourself with a small item. It is always good to surround ourselves with items that give us great positive energy. That makes us smile, that pushes the positive thoughts into our head... The things that give value and bring more than what we gave for their price.
I love when we find people who think in the same direction and nurture the same values. One of those people is Jolene, the artist behind the River Ceramics, from the coast of Margaret River.

Where are you from? Where does the art journey start for you?

The art journey for me is driven by a question. I wonder? Curiosity, joy and interest in all the variable which contribute to a final outcome. As I come from a (building) design background, I have noticed that it is consideration of these elements bridging both function and aesthetic which keep me intrigued.


What is the first emotion that drives you towards creating an art piece? Do you recognize the connection immediately and let yourself flow on the creative process? Or do you "bake" the inspiration for some time?

I have experienced both a rush to experiment and try design ideas as soon as possible, and also, particularly as I mature, an interest in planting just a little seed and trusting that it will keep growing without my direct interference. As I spend so much time in the creative zone, I suspect it is somewhat of a rich soil, so I don’t always rush in anymore. My main emotional state is curious, excited, interested. I feel a freedom and safety in my current creative process.


What is the back story of your design? Because every one of us sees the world through separate lenses. How hard it must be to transfer it to other people?

The back story of my design process is equal parts a love of art and beauty, to a strong sense of practical application. I don’t love fluff and fancy, with a preference for everything having a dual purpose and to “make sense”. I think I have found it easier to adapt to spending time in a creative field for which there is a clear purposeful outcome. Perhaps I found it easier to find my value as an artist that way as I had something solid to lean into.


When it comes to making a living from your art, what are the main struggles? And what would be your advice for starting artists?

I have been very lucky in many many ways in my small artistic business. Although I acknowledge that I worked very hard, I can also see that timing was really on my side. My biggest piece of advise is that you need to be willing to fail. Take that prospect as lightly as you can, and see each mistake or failure as a rung to improving in some way. I am genuinely so grateful for all of my mistakes, but I think that was only possible as I had prepared myself in advance for them to be inevitable.


What do you prefer, single pieces or story telling through a whole project? And what approach do you use in each case?

I definitely prefer story telling through a whole project. I consider each collection like a rabbit hole, each with branching opportunities to explore. Some of them end quickly, and others lead deeper and deeper until the story is told.


Why do you use certain materials? What connects you with them, and makes you feel they are perfect for your art piece?

Similar to my reason for choosing art, and the factors which drive my design, my materials are chosen for both practical application and beauty. It has taken me a lot of trial and error to arrive and my current kit of materials. Additional to this is both environmental and personal considerations. I use natural earth materials, and locally sourced materials wherever possible, including wild clay which I procure and process from our own garden. This gives me such a deep sense of gratitude and connection to my work and the land we walk on.


What does ART, in general, mean to you?

Art to me is expression and freedom. It is an opportunity to explore those parts of ourselves with which we are not easily in touch with in most other parts of our lives. With the added element of tactile earth in my craft, it is also the opportunity to connect, ground and meditate.

The FOURLINEdesign team would like to thank Jolene for sharing inspiring thoughts with our community.

Nastia Calaca is an independent ceramic artist from Ukraine, currently living and creating in Haarlem, the Netherlands.
Nastia Calaca is an independent ceramic artist from Ukraine, currently living and creating in Haarlem, the Netherlands.
Lisa Stevens lives, and works from home. In a village just outside of Bristol, in the South West of England.
Lisa Stevens lives, and works from home. In a village just outside of Bristol, in the South West of England.

How does life seem to you? Is it what you expected in your adolescence? I believe that most of us haven't been aware of the "life tricks" that await us. Some of us haven't been prepared for it, wrapped in the protecting arms of our family. But there is no time left for the mourning of what would happen if things were different. We have to accept that roses have thorns. On the brightest day we have to walk in puddles of yesterday's rain. And we need to learn to collect our best memories and merge them with our worst because that's how life is. Without the filter, without the "best angle" view.
And that's where the beauty of art comes. It's power to say it all, to connect with us, to give us a sense of understanding. That's why we decided to talk with Glen Martin Taylor and get to know him and his art better.

Where are you from? Where does the art journey start for you?


I'm from Ohio, USA. I've known I was an artist since I was ten years old.


What is the first emotion that drives you towards creating an art piece? Do you recognize the connection immediately and let yourself flow on the creative process? Or do you "bake" the inspiration for some time?


Anger, unfortunately, or frustration, with being a person on this silly planet. My process, it's art therapy, from childhood wounds, from adulthood wounds. I'm always baking, creating in my head/heart.


What is the back story of your design? Because every one of us sees the world through separate lenses. How hard it must be to transfer it to other people?


Back story? It's the dilemma of being a human being. It's hard. I want to share my struggle with that dilemma, the search for sanity and wholeness, and when I connect with someone, maybe make them feel good for a while, it helps me.

When it comes to making a living from your art, what are the main struggles? And what would be your advice for starting artists?


Money or living? If you want to feel alive, make art from inside your truth, your heart, that's the only choice, leap and a net will appear. And work. work all the time. I don't know anything about money.


What do you prefer, single pieces or storytelling through a whole project? And what approach do you use in each case?


All my work is a narrative of myself, a self-portrait. Separate or in pieces, it's all me.


Why do you use certain materials? What connects you with them, and makes you feel they are perfect for your art piece?


I use common materials that mean something to my past, things that cause an emotional trigger in me, and hopefully, to others.


What does ART, in general, mean to you?

Art is how we expose our naked souls. If it doesn't, you're doing it wrong.
The beauty of life doesn't come without spikes. Ironically those spikes make us cherish the beauty of life more. Make us recall them in difficult times, make us stronger and more resilient. Art makes us question more, makes us feel, and takes us to the depths of our mind. The celebration of life is all around us, we just need to look at the sights by the road.  
The FOURLINEdesign team would like to thank Glen Martin Taylor for sharing inspiring thoughts with our community.

How does life seem to you? Is it what you expected in your adolescence? I believe that most of us haven't been aware of the "life tricks" that await us. Some of us haven't been prepared for it, wrapped in the protecting arms of our family. But there is no time left for the mourning of what would happen if things were different. We have to accept that roses have thorns. On the brightest day we have to walk in puddles of yesterday's rain. And we need to learn to collect our best memories and merge them with our worst because that's how life is. Without the filter, without the "best angle" view.
And that's where the beauty of art comes. It's power to say it all, to connect with us, to give us a sense of understanding. That's why we decided to talk with Glen Martin Taylor and get to know him and his art better.

Where are you from? Where does the art journey start for you?


I'm from Ohio, USA. I've known I was an artist since I was ten years old.


What is the first emotion that drives you towards creating an art piece? Do you recognize the connection immediately and let yourself flow on the creative process? Or do you "bake" the inspiration for some time?


Anger, unfortunately, or frustration, with being a person on this silly planet. My process, it's art therapy, from childhood wounds, from adulthood wounds. I'm always baking, creating in my head/heart.


What is the back story of your design? Because every one of us sees the world through separate lenses. How hard it must be to transfer it to other people?


Back story? It's the dilemma of being a human being. It's hard. I want to share my struggle with that dilemma, the search for sanity and wholeness, and when I connect with someone, maybe make them feel good for a while, it helps me.

When it comes to making a living from your art, what are the main struggles? And what would be your advice for starting artists?


Money or living? If you want to feel alive, make art from inside your truth, your heart, that's the only choice, leap and a net will appear. And work. work all the time. I don't know anything about money.


What do you prefer, single pieces or storytelling through a whole project? And what approach do you use in each case?


All my work is a narrative of myself, a self-portrait. Separate or in pieces, it's all me.


Why do you use certain materials? What connects you with them, and makes you feel they are perfect for your art piece?


I use common materials that mean something to my past, things that cause an emotional trigger in me, and hopefully, to others.


What does ART, in general, mean to you?

Art is how we expose our naked souls. If it doesn't, you're doing it wrong.
The beauty of life doesn't come without spikes. Ironically those spikes make us cherish the beauty of life more. Make us recall them in difficult times, make us stronger and more resilient. Art makes us question more, makes us feel, and takes us to the depths of our mind. The celebration of life is all around us, we just need to look at the sights by the road.  
The FOURLINEdesign team would like to thank Glen Martin Taylor for sharing inspiring thoughts with our community.
Tatiana Cardona is a conceptual artist living in Florida, US. Her romantic pieces of art are sold out immediately when the collections are set live on her website. Her charismatic persona took over the TikTok where she grew a network of art admirers by giving them a glimpse of her everyday life.
Tatiana Cardona is a conceptual artist living in Florida, US. Her romantic pieces of art are sold out immediately when the collections are set live on her website. Her charismatic persona took over the TikTok where she grew a network of art admirers by giving them a glimpse of her everyday life.
​Kukula was born in a relatively isolated village about an hour north of Tel Aviv. After receiving her degree in illustration in 2003 from Vital-Shenkar, Kukula moved to the U.S., where she lives now. Kukula’s paintings center on feminine, doll-like figures, often surrounded by objects with sometimes clear, sometimes obscure symbolic meaning. The work registers the influences of both classical European art forms and contemporary pop culture. In her figures’ poses Kukula recalls traditional portraiture, yet the style is manifestly modern and pop-influenced. Kukula’s compositions thereby disclose her personal struggles as mediated by a rich multi-cultural heritage.
​Kukula was born in a relatively isolated village about an hour north of Tel Aviv. After receiving her degree in illustration in 2003 from Vital-Shenkar, Kukula moved to the U.S., where she lives now. Kukula’s paintings center on feminine, doll-like figures, often surrounded by objects with sometimes clear, sometimes obscure symbolic meaning. The work registers the influences of both classical European art forms and contemporary pop culture. In her figures’ poses Kukula recalls traditional portraiture, yet the style is manifestly modern and pop-influenced. Kukula’s compositions thereby disclose her personal struggles as mediated by a rich multi-cultural heritage.