Lela Amparo

“Failed” art sounds dramatic, but what about the pieces that slip through the cracks and never get their moment? The ones that didn’t quite meet my standards—but might still strike a chord with someone else? Each week, I share these pieces—the ones collectors or larger clients wouldn’t take home. They might not fit neatly into a gallery, but they’re still part of me. In a way, they represent those forgotten corners of the soul. I’d love for them to find a home, even if they’re a little imperfect.

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Dmitry Ersler

The artist’s task is to awaken the viewer’s imagination. My goal as a photographer is to evoke the viewer’s imagination, trigger it, bring it to life. No one can create a picture better and brighter than the viewer’s own imagination. It just needs a push, an impulse. My name is Dmitry, and I am a photographer. I create realistic-style photos depicting people in everyday life. However, most of my works are pictures with stories, with a narrative. The idea of creation such works is to photograph images with embedded stories and attempt to describe them using various techniques (interior details, clothing or props, lighting, model’s pose, facial expressions, gestures, and so on). The people on these photographs are not just models; each of them is a participant in some events, a hero of their own story. And in each story, there was a past that happened just a moment before the viewer approached the photograph. There is also a present frozen while the viewer looks. And there is a future that will come as soon as the viewer steps away from the image. Each viewer has to examine the present himself, speculate about the past, and anticipate the future. What was in this imaginary past and what will be in the future entirely depends on the imagination of each viewer. The most important thing for me is that the viewer, flipping through a magazine or walking along the gallery wall, stops and looks at the image, freezes, and begins to ask themselves questions: What is happening here? Why is the protagonist of the picture doing this? What prompted him to do this? What will happen next? Making these questions arise is the essence of art.

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Kimberly Shumaker

I’m a illustrator of kid friendly art forms as I’m a mom grandma. Focus on childhood imagination but with elements of truth here there. As a kid before pc home internet we used our imagination. Mom’s laundry basket became a pretend space rocket-a cardboard box a pretend airplane.

Roger Mujica

I’m Roger Mujica, an internationally award-winning photographer based in São Paulo, Brazil. My passion for travel and exploration has taken me across the USA and through the vibrant cultures of Central and South America. Captivated by Brazil’s natural beauty and diversity, I made it my home. Now, I am embarking on a new journey to Europe, reconnecting with my Italian and Spanish heritage. My love for design and photography began in childhood, influenced by my family’s artistic roots in music, painting, sculpture, and craftsmanship. My journey into photography started 45 years ago with a simple Sony point-and-shoot camera, igniting a lifelong passion for capturing the world’s beauty.

For me, photography is more than an art—it’s a universal language that informs, inspires, and connects. With a background in Architecture and Interior Design, I have spent over a decade refining my technical skills and integrating digital technology into my craft. My portfolio spans architecture, landscapes, travel, portrait, editorial, product, and fine art photography. Each image I create is infused with authenticity, storytelling, and a deep appreciation for the unseen. My award-winning work has been exhibited worldwide, inviting viewers into my visual sanctuary.

Driven by a desire to document my journey, I wrote Captured Moments: Embracing the Art of Photography, a book that reflects my passion for immortalizing fleeting moments. Through my lens, I strive to bridge worlds, capturing life’s essence with honesty and depth. I believe photography opens new avenues of communication, adding meaning to our lives. Welcome to my vision—an unforgettable journey in visual storytelling.

The photographs I am presenting in this exhibition reflect my ongoing exploration of mixed media techniques and my commitment to pushing the boundaries of visual storytelling. Two of these works were previously rejected, yet they remain integral to my creative process—each a testament to experimentation, evolution, and artistic resilience. My work spans from deeply dramatic and vibrantly colorful compositions to abstract concepts that invite viewers to engage with their own interpretations. I believe in the power of abstraction to evoke emotions and spark unique perspectives, allowing each observer to find their own meaning within the layers of color, texture, and form. In alignment with Gallery Informal’s mission, these pieces offer a rare glimpse into my artistic journey—capturing moments of creative spontaneity, reconsideration, and transformation. By showcasing works that might otherwise remain unseen, this exhibition highlights the beauty found in the experimental, the unfinished, and the unconventional. Each photograph embodies my desire to create artwork that transcends the expected, encouraging viewers to experience abstraction through their own lens.

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Interview with Roger Mujica

What does it mean for you to showcase works that could have remained unseen?

For me, showcasing works that could have remained unseen is about unveiling the extraordinary within the ordinary. As a photographer, I am constantly seeking to capture what others might overlook—fragments of time, subtle interactions of light and shadow, and emotions embedded in fleeting moments.

My work is driven by a deep curiosity to explore beyond the obvious, to challenge perception, and to offer a fresh way of seeing the world. By sharing these unseen perspectives, I invite viewers to pause, reflect, and perhaps discover a new way of engaging with their surroundings—one that transcends the familiar and embraces the unexpected.

Can you elaborate more on your exploration of mixed media techniques and how they influence your photographic work?

My journey with these techniques is driven by an insatiable curiosity—a need to push beyond the limits of traditional photography and explore what lies beneath the surface of an image. As an architect, I’ve always been captivated by textures, patterns, and the way materials hold memory. I think in three dimensions, constantly searching for ways to merge the visual with the sensory, the tangible with the ephemeral.

Photography, for me, isn’t just about capturing an image; it’s about constructing an experience—one that invites the viewer to feel, not just see. When I first started experimenting with digital post-production, I realized that photography didn’t have to remain confined to a static, two-dimensional form. It wasn’t just about freezing a moment in time but about reinterpreting it, reshaping it, giving it new life. By blending digital techniques with hand-applied interventions, I create work that extends beyond the visuality and become something to be experienced.

What truly fascinates me is the conversation between the digital and the physical—the contrast between crisp, precise digital edits and the raw imperfections of hand-worked textures, mixed materials, and abstract distortions. That interplay is where the magic happens. It allows me to do more than depict reality—I get to reimagine it, infusing my work with movement, rhythm, and a sense of spatial depth. Through this fusion of techniques, I go beyond what’s obvious and into what’s often unseen—the echoes of a place, the rhythm of a fleeting moment, the subtle dance of light and form. My work becomes more than an image; it turns into a dialogue between different dimensions, where textures, emotions, and untold stories surface, waiting to be discovered.

Can you take us through the typical creative process of one of your works shown in this exhibition? How do you approach creating compositions?

Every piece I create is a conversation—a dialogue between my intuition and the raw energy of the moment. I’d like to talk about “Ethereal Threads”. This work, like many of my creations, didn’t begin with a rigid plan. It started with an emotion, a fleeting impression that I felt more than I saw.

My process is deeply instinctive. I often begin by immersing myself in my surroundings, letting my eyes wander until something calls to me—a play of light, the texture of decay, a hidden rhythm in the chaos. I don’t force the composition; I allow it to emerge. In this particular piece, I was drawn to the way forms seemed to dissolve into one another, as if the boundaries of reality were softening, unraveling into something almost ethereal.

Once I capture the initial image, the real transformation begins. I strip away distractions, focusing on the essence of the scene. I experiment with contrasts, textures, and movement, almost as if I’m sculpting with light. Layers build upon layers, each adjustment revealing new depths, new dimensions hidden beneath the surface. At some point, the image takes on a life of its own. I stop trying to control it and instead listen. I step back, letting it breathe, letting it whisper its story to me. It’s a process of discovery, of allowing the subconscious to manifest through form and texture. The final result is never just a photograph, it’s a reflection of a moment, a feeling, an experience frozen in time, yet fluid in meaning.

This is what drives me as an artist. The pursuit of capturing what cannot be seen, of giving form to the intangible, and inviting others to step into the space between reality and imagination.

You mentioned your family’s artistic roots in music, painting, sculpture and craftsmanship – how did these influences build and shape your approach to photography?

My family’s artistic legacy was the origin of my artistic self, deeply influencing my vision of and response to the world. Growing up in a house in which music, painting, sculpture, and craft surrounded me, I learned the vocabulary of artistic expression in every way. My father, a product of music and imagination himself, was a key to my career in photography. He was always taking pictures—not just capturing moments but turning them into something timeless and poetic. As I saw him framing our lives in his camera, I found myself doing it automatically myself—first in my mind, eventually with my camera.

Photography, for me, was more than just a natural extension of this inborn artistic nature; it was a dynamic storytelling medium. The exposure to slide films during my childhood and my first film outing in 1974 was a turning point that shaped my vision of light, composition, and movement. I learned that it was not a question of just recording a picture, but of creating a feeling, just like a note of music or a splash of paint on canvas.

At the same time, my northern Italian heritage also instilled in me a deep respect for aesthetics, craft, and the haptic nature of creating something. While my father’s vision for my career was more technical in nature, my artistic leanings always seemed to manage to assert themselves. Architecture then refined my three-dimensional mindset, working my eye to observe textures, patterns, and depth of space—elements that inform my photographic style today. I’m not just looking for a picture’s beauty; I’m looking for its layers—its mood, its rhythm, its unspoken narrative.

In many ways, my work is a synthesis of all of these influences. The musicality of composition, use of light by a painter, sculptural depth of form, and craft of narrative all intersects in my work. With digital means or hand interventions, I strive to move beyond the limits of a frame, making every photograph a three-dimensional experience. Every photograph is an open-ended invitation—an echo of my family’s artistic legacy—where texture, movement, and feeling combine to tell a story beyond vision.

How has your background in Architecture and Interior design influenced your compositional elements and artistic style in your photography?

My background in interior design and architecture has deeply influenced my photographic style, informing me of my approach to composition as well as my artistic vision. Architecture educated my eye to penetrate beyond the exterior to note the interactions between space, light, form, and texture. As a designer, an architect approaches design with deliberation, and I approach each shot with a keen sensitivity to spatial harmony, depth, and interaction of elements in a scene.

One of the most basic elements of my work is my understanding of geometry and proportion. Architectural design is based on exact alignment, rhythm, and harmony, and I apply these principles intuitively to photographs. Whether I am capturing the strict symmetry of a new facade, the organic flow of a landscape, or the close-up randomness of an instant in time, I intuitively compose pictures that feel structurally sound yet emotionally engaging.

Light is the common thread weaving together design and photography. In both, it shapes perception, sets mood, and defines form. I am deeply attuned to how light interacts with surfaces—whether the soft glow of golden hour, the stark geometry of urban shadows, or the subtle reflections that bring depth to an interior. My background in interior design allows me to control and predict light, amplifying its visual impact in my photographs.

Texture, too, plays a vital role. As an architect, I learned how materiality enhances spatial experience. In my photography, texture evokes emotion—the worn softness of stone, the fluidity of fabric, or the smooth contours of the human body. I want my subjects to be not just seen, but felt, much like one experiences the tactile beauty of a well-designed space.

More than anything, I see photography as storytelling through structure. Just as a well-conceived space guides movement and meaning, my images are composed to lead the viewer’s eye, constructing narratives through form, light, and presence. Architecture and photography both shape perception, and my work is where the two converge—where form meets feeling, and every image becomes a portal into a world of design and emotion.

Karina Savina (Dilan)

My work explores the intersection of human feelings, nature, and collective consciousness. Through painting, installation, and digital art, I seek to evoke deep emotional responses, creating immersive experiences that invite reflection and connection. Inspired by organic forms and fluidity, my art captures the transient nature of feelings and the evolving relationship between people and the environment. I am particularly interested in themes of unity, transformation, and the future of human perception. For me, art and abstraction are a way to invite exploration, a path toward co-creation, and a means of uniting with others. I am passionate about conveying elevated states and the forces that inspire action, rather than simply remaining within the realm of personal reflection. I feel that today, the mission of creating art can also be about bringing people together—forming a new and deeply sensory form of communication through imagery, opening up our inner worlds.

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Interview with Karina Savina

Your work explores how human feelings, nature, and collective consciousness intersect. What brought you to examine and use these themes in your work?

Perhaps each of us tries to find answers to questions about the meaning of our lives, the paths we take as humans, where we are going, and for what purpose. Where can we truly express ourselves, our will, and our choices? What is human freedom in a world that sometimes sweeps us away in a whirlwind of events, making life feel like a theatrical performance? I found my answer in feelings. If we strip away everything external, what remains is the purity of feelings. And this realization can be striking in its unconditional nature—if we consciously choose to explore: What do I want to feel? What if this feeling is not tied to anything external? What does my feeling look like? What does it taste like? And what can I share with others? It turns out that feelings are a form of pure connection that unites us unconditionally and remains one of the few things we can choose, create, and share. Painting and imagery are incredible tools for this, and I chose them to convey states of being and create a space for exploration.  

You say that you seek to evoke deep emotions. What kind of emotions do you hope that your audience will experience when engaging with your work?

The most important one is curiosity. Inside, I feel a burning desire for all of us to explore our inner worlds with joy and interest! Each person will have their own unique shades and states of emotion. Even the feeling of joy is different for everyone—from a barely perceptible trembling with the taste of raspberries to a fireworks-like euphoria with the scent of caramel! This is where the interaction between the viewer and the artwork begins—a shared dialogue, an exploration between people where there is no single correct answer. Instead, there is an endless opportunity to discover something new and expand our emotional palette. To me, this is the next step: when a work of art does not merely reflect the artist’s personal experience or provide definitive answers, but instead conveys a sense of shared curiosity and unity as a starting point. 

You’ve mentioned that your artwork is a way to bring people together; how do you imagine art as a form of communication beyond personal reflections?

This is where imagery plays a key role! The combination of colors, formats, symbols, and dynamics creates a unique language of states embodied in material form or visual perception. What if this allows us to interact without predefined roles? And what if we add sounds, scents, and movement? Looking at the bigger picture, I am interested in collaborations with different art forms, the exploration of language, and how, by embodying states through these mediums, we can grow closer and experience each other more purely—without clichés or rigid definitions, leaving room for freedom of perception.

“Spring Awakening of Unity” seems to capture connection and harmony; what inspired you to make this work?

I tried to embody harmony among all living things through color and dynamics, hand imagery, and nature symbols. Just imagine: how would it feel to experience the joy of this mystery, where all existence unites in its natural essence, people effortlessly enter co-creation, and we no longer destroy our world or each other? That is precisely the feeling I wanted to bring to life. Watercolor and white ink reflect the movement of water—its unpredictability and freedom. Every time I work with water, I experience the process of co-creation: I do not control the movement of the paint, yet I am an active participant in the process! Just like in life, in nature, and in my vision of unity. 

You mentioned the idea of a ‘living space of unity’ within the work; how do you think that art can help create or contribute to such spaces in reality?

I feel a direct connection between this and our ability to imagine and fantasize. Sometimes, we do not even know what we truly need. How do we envision our future? What does it look like? What do I want to feel if I remove all reflections and focus solely on my choice? In this sense, visualizing states can serve as a bridge. We can express freedom through creativity, share our visions, and gradually expand our collective perception and imagination about the future. After all, the living gives birth to the living. And perhaps, over time, we will create new objects, architecture, and artistic approaches, leading to something truly extraordinary.  

“A Living Feeling” is described as depicting the birth of the New. What does this process mean to you in both an artistic and philosophical sense?

It is a state of safety, curiosity… sacredness and silence. Depth. When you feel with your entire being the delicate emergence of something special! As if you are both the fertile, nurturing soil of love and joy, the active process of creation, and the sprouting seed of life itself—all at the same time. This is why I depicted the state of birth with earthy, deep tones, creating a sense of safety through the circular form. The abundance of details reflects the multidimensional nature of this process, the feeling of multiplicity rather than solitude. 

“New Night” encourages the viewer to reflect on how they want to live; what is your own personal vision of the future?

Yes, this work is about space. It explores how we can fantasize and begin to envision where we want to be, inspiring new understandings of our interconnectedness with the world, our environment, and our atmosphere. I was intrigued by the idea—what if we could enjoy any time of day? What if we could always see the cosmos clearly and transparently? What if we could feel comfortable in any climate? For now, these are just fantasies, ideas about how easily we could exist anywhere while feeling a sense of comfort and aliveness, a true presence in the essence of Life itself! And what if we learn to manifest and create this? It does not matter when—what matters is allowing ourselves to feel it already now. 🙂 

When creating a work—does it start with a clear idea, or do you involve more experimentation and organic evolution within your creative process?

Right now, I am creating paintings using different techniques—from oil and acrylic to digital and watercolor. At the same time, I am exploring contemporary dance, the sounds of our speech, and even inventing new words to describe the states I discover. I am also working on a children’s book, using imaginative imagery and language filled with emotions and sensations. Step by step, I hope to bring all of this to life through new collaborations and to share it with others. More than anything, I want to convey to everyone that our whole life is an incredible project! And we will be heard when we share what we have truly lived and felt. Live, create, and experiment—because the more we do, the more alive, honest, and New things will emerge. And that means we will all meet each other along the way. 🙂

Xavier Wormack

Art, for me, is more than a practice—it’s a journey, a language, and a testament to resilience. My work is a visual dialogue between the seen and unseen, the tangible and the ethereal. Through painting, digital art, sewing, and filmmaking, I explore transformation, identity, and the power of storytelling. Rooted in my experiences traveling across the U.S., from the streets of Uniontown, Pennsylvania, to the vibrant art scenes of Atlanta, my work embodies movement—physical, emotional, and spiritual. Each piece is an invitation to question, to feel, and to step beyond the familiar. Whether I’m painting murals that breathe life into public spaces or crafting digital compositions that challenge traditional perspectives, my mission remains the same: to expand minds, provoke thought, and unify through creativity. My art reflects not just where I’ve been, but where I’m going—a bridge between past, present, and the infinite possibilities ahead.

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Oleksandr Hants

I am Oleksandr Hants, a multidisciplinary artist from Dnipro, Ukraine, currently based in Paris, France. I explore the potential of digital media to evoke emotions and induce creative, transformative experiences. My work spans digital images, drawings, videos, animations, and computer games, with a focus on intermedial intersections—those dynamic points where different media merge to create meanings that transcend their individual capacities. In my art practice, I employ a wide array of tools—from digital sculpting and 3D/animation software to game engines, programming languages, video editing suites, and music creation tools. A crucial aspect of my work is reinterpreting the raw, spontaneous spirit of graffiti in a digital context. I integrate documented fragments of nature, DIY architectural elements, construction sites, and urban textures into my visual language. By blending digital graffiti sculptures with environmental snapshots, I strive to discover new visual forms and examine how digital media transforms traditional artistic expression.

My inspiration stems from the interplay of diverse media and the rule-breaking energy of graffiti. I aim to evoke a sense of unpredictability, rawness, and ephemerality in my viewers, engaging them as active participants in the creative process. I encourage others to tap into their own creative potential and uncover sources of vitality within themselves. I also collaborate as part of the artistic duo “fantastic little splash”. Our projects focus on essay films, documentary, and video games, exploring themes such as collective imagination, emotions in social platforms, cyberwar, and post-Soviet heritage. This collaborative work complements my solo practice and enriches my exploration of digital media.

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