Anna Tea is a 23-year-old artist from Ukraine. She is currently studying Master of Photography at a German university.
“Meditation is a great part of my creativity. I started practicing meditation when I was 12 and started doing photography a few years later. At some point in our lives, we all have experienced the feeling of not belonging, of not being accepted or simply confused. Most of my work represents and emphasizes this particular emotional state many people, not only artists, go through. As growing up in small, undeveloped town and later on traveling and living in numerous countries to understand various cultures and different people, I have reached the conclusion that not always it is possible to truly become part of the environment, not always one is able to fully blend into other’s space and sometimes it is better to observe everything from one’s own world – silently, carefully, patiently. Societies and cultures nowadays have merged yet they try to preserve some particular values they have and this can be incredibly confusing thing to experience for young minds particularly as this is the time when one seeks to find him- or herself yet it can happen that the surrounding environment does not organically accept you, that they will make you know – you are not like us”.
I have three names and one family name. I prefer to be called Careful Pen. I draw objects and stories. I think one line on a paper could tell a story more effectively than ten of them. I like red, black and white colours. I like grey the most lately. I grow up with my mother. I used to spend my days isolated, but my nights with a company. Today I don’t care about it.
I have two unfinished canvases on the wall in my room, and a new one on the floor. I like to look at them and imagine various paintings I could paint on them. I am working on three illustrated books. “Cuddling Kama Sutra” is about different cuddling poses for objects. I have been published quite a few times. I lose myself easily in my thoughts. I have hard times to stay focused. I have hard times to stop working. I write theatre performances and they are mostly tragedies. My drawings are mostly comical and weird. I am having a hard time to decide which feelings I like most. My father’s photo camera fired my excitement for art. My aunt was upset with me photographing naked old women on a beach. I still think they are the best photos I ever made though. Theatre came early in my life, consequently, I could not consider it to become my life. My mother always wanted me to be an actress,but I prefer to direct. In 2015 I premiered two shows and decided not to do the same mistake again. I am writing three shows at the moment. I have also started to write a book about my family. I have a good title for it. Drawing helps me to stay calm. I don’t like people taking my pens. But I do think that if I want to, I can have all the pens of the universe. I don’t feel shame if I steal it. I draw objects more often than I draw humans, or animals, or plants. I am in a constant searching for connections between my drawings and the plays I create.
Léah Njeim is a 26 years old french multi-disciplinary artist, joining Closet Liberation as a photographer. She studied Documentary cinema and stage acting in Paris. She has been self educated in film photography during university years and practiced during her travels.
“I was always fascinated by boundaries, borders, limits. What is the connection between performing and being? How can we express and explore that connection through fashion? What is the border for the photographer between their part as an artist and as a person? How can you be part of events but at the same time have enough distance to capture the moment from an outside perspective? I am also trying to question ethicals limits, which is a relevant point in the fashion industry, speaking of economics and representations. More than capturing an instant, I am trying to orientate my work towards the process of finding the right balance of means and ways used to catch a picture. I want to over-think the relation between aesthetics and politics, beauty and misrepresentation, display and exploitation. What interests me more at this point is that crazy connection, the thin line between the norms -the restrictive rules that are part of the mainstream fashion/beauty/visual in global industries- and the empowerment -the actual liberation hidden behind them- what is to win for trespassing the borders”.