When I first look at Vidushi Gupta’s painting ‘The Tourist’, the colour and composition remind me of abstract expressionist painter Helen Frankenthaler. Yet when I look more closely, I see figurative elements, including birds and a person perched on a car, pointing in the opposite direction the car faces.

What is she pointing at? There must be something noteworthy just out of sight that she can see, but we can’t. It’s a tantalising approach that’s been used throughout art history in both abstract art, think Piet Mondrian, to more figurative painters such as Caspar David Friedrich. 

In this case, the title of the work suggests it’s something that a tourist would spot, and it’s often telling that tourists are drawn to sights that are unfamiliar to them but familiar to locals. I remember visiting family in India and being shocked by how tourists would stop to take pictures of ramshackle huts by the side of the road. These dwellings were a regular sight for locals, but tourists were fascinated by them, a fascination that felt both voyeuristic and invasive. 

The flip side of tourists is that they often draw our attention to wonders that we overlook. How many people live in a city like London, New York, Paris or Delhi and never visit the main tourist attractions, taking them for granted? It’s this dual role of tourism that often makes countries both value and despise it, and I see that complexity in this work. 

The incorporation of human hair, copper wire, and other non-standard art materials also makes the work feel more grounded and, for me, references the litter and detritus that often accompany tourism. 

Gupta’s wider practice takes simple concepts such as flowers and fruit, before transforming them into forms that feel more suited to a hallucinogenic fever dream, transporting us into a more surreal world. It’s a journey into her subconscious that guides her hand to create works where the end goal may not be known to her, and we’re also unsure where it will take us.

While the works are colourful and vibrant, they also remind me of the symbolism of flowers in art: both symbols of fertility and reminders of life’s fleeting nature, as we see in 16th- and 17th-century Dutch vanitas paintings.  They are beautiful things to behold, but also reminders that our time on this planet is a mere blink of an eye in geological timescales.  

Her works fall into a long lineage of female painters who have used the symbolism of flowers, from Rachel Ruysch to Georgia O’Keeffe. When Gupta’s work is at its most abstract and reduced to simple forms, it recalls the more mysterious works of artists such as Hilma Af Klint.

I see the latter in her work ‘Dopamine Rush’ where amorphous forms fill the canvas, were they once people, pieces of clothing or something more otherworldly? It reminds me of our addiction to smartphones that create surges of dopamine, which is the real-world realisation of the drug Soma from Aldous Huxley’s A Brave New World, where masses were controlled through hallucinogenic visions. We’re lost in a world of bright colours, in our always-online culture, but can we escape it and become more grounded? My viewing of her work teases at this critical contemporary issue. 

Yet it would be reductive to view her art through a Western art-historical lens, as she has lived across continents, in both Delhi and London. As her work evolves, I’d like to see this dichotomy explored further, incorporating the differences and similarities in both British and Indian cultures, what unites people in both countries and what sets them apart. The cities, tastes, smells, food, and flowers combine to create work that resonates with people in both places and reflects her own upbringing. 

More information about Vidushi Gupta’s work can be found on her website and Instagram.

When you light a match and let it burn to its end, it crumbles into dust and returns to the earth. That same earth that created it as it grew into a tree, before it was cut down, and a small sliver of it was turned into a match. It’s the cycle of life that applies to every living thing on earth, including us. It’s this cycle of life, death and rebirth that we find throughout Chen Werui’s practice. 

I first came across his works at the Asylum Chapel in Peckham, South London – an exhibition curated by Swanfall Art. The chapel setting reminded me of a particularly fitting biblical quote: “For dust you are, and to dust you shall return.” While the setting evokes Christianity, the cycle of death and renewal applies to all religions and spiritualities, including those found in China, Werui’s homeland. There is a Chinese proverb that translates as “falling leaves return to the roots,” which conveys a similar meaning. 

His works feature embedded matches that have been lit and partially burned before being extinguished and incorporated into wooden blocks. The blocks also evoke Chinese references, such as woodblock printing and Mahjong tiles, while the layout of the matches is intentionally designed to resemble Chinese characters. The works comfortably straddle Eastern and Western traditions, art history and contemporary culture.

The matches lie in the frame as if they are carcasses, confronting us with our own mortality, as many of us will also be lying in wooden boxes when the flame that is our lives leaves our mortal bodies. It’s a contemplative work that uses simple means to highlight the transitory nature of life and our time on this earth. 

It follows in a long-established tradition throughout art history. Vanitas and Memento Mori paintings employed symbolism to remind viewers that life is fleeting, often through skulls or rotting fruit. We also see contemporary artists adopt a more sensational approach, as Damien Hirst created vitrines in which flies are born, mate, and die in a grotesque summary of life. Unlike Hirst’s work, Werui is far more subtle in landing his point, allowing us to spend time with his delicate pieces before the full weight of their concept sinks in. 

When placing these works in a chapel, considerable attention was also paid to their framing. Typically, the works would be displayed in contemporary frames. Yet, Werui chose to adopt more ornate frames to reflect on how art-historical pieces from the Renaissance or Baroque periods would have been displayed in chapels and churches centuries ago. 

The matchsticks recur in his wider practice, with matches serving as roofing, instruments, walking sticks, and hats in figurative paintings. While these scenes have more complex narratives, the idea that life, death, and rebirth come to us all is embedded in each work. 

Chen Werui’s works may be small in scale, but their impact on the viewer can be monumental. Like matches, we will also turn to dust and return to earth, and through Werui’s work, we can contemplate and confront our own mortality.

Werui Chen’s works were part of the ‘Ashes to ashes’ exhibition at the Asylum Chapel, which ran from 15-19 December.

Angel Nunes Lazaro, known professionally as RenderTattoo, has carved a distinctive niche in the global tattoo industry. Based in New York City, the Spanish artist specializes in black and gray realism and blackwork, blending dramatic contrasts, intricate details, and a cinematic approach to skin art. With nearly a decade of experience and a career spanning Spain, the United States, and the Netherlands, RenderTattoo’s work reflects a commitment to technical precision and emotional storytelling.

RenderTattoo’s path to tattooing is as unconventional as his art. Before inking his first piece in 2016, he spent years in photo and video editing, a background that continues to shape his work. “I approach tattoos like cinematic frames,” he explains. “Every element — light, texture, depth, and composition — has intention and emotional weight.” This philosophy is evident in his signature style, which merges realism, storytelling, and dramatic contrasts to create pieces that feel alive.

Clients and peers alike note his unwavering consistency, a trait that has earned him a growing reputation for large-scale tattoos, particularly full backs and sleeves. His ability to balance meticulous detail with structural balance sets him apart in an industry where technical skill is paramount.

While RenderTattoo has received accolades for his technical prowess, his creative identity is deeply tied to his heritage. “I don’t think my style is ‘Spanish’ literally, but my roots influence how I perceive realism,” he says. Growing up in Almería, Spain, he was immersed in a culture of dramatic light, historical art, and emotional intensity. These Mediterranean qualities — vivid contrasts and a sense of drama — surface in his work, even without overt references to traditional motifs.

The artist cites South Korean tattoo artist Sumok Kim and Spanish tattoo artist Hernán Yepes as major inspirations. Kim’s mastery of composition and detail, and Yepes’ ability to structure large-scale tattoos with soft yet bold shading, have left a mark on RenderTattoo’s evolution. “They push the boundaries of technical quality,” he notes, adding that their work motivates him to elevate his own.

His long-term goals are equally ambitious. “I aim to consolidate RenderTattoo as a global brand and become a key figure in realism and large-scale tattooing,” he states. Recent invitations to judge at conventions such as San Antonio’s VillainArts Festival, along with upcoming roles in Minneapolis and Philadelphia, underscore his rising influence.

RenderTattoo’s career trajectory is marked by both recognition and growth. Since beginning his practice in Spain, he has won multiple awards, including third place in black and white tattoos, second place in realism, and the “Biggest Tattoo Sunday” accolade at the Estepona Tattoo Convention in 2022. Additional honors include awards at the Granada and Almería Tattoo Conventions, as well as international exhibitions in France, the Netherlands, the UK, and the United States. His work has also been featured at expos across Europe and North America, reflecting his global reach.

His blackwork style is particularly noted for its innovative use of volume and dotwork, blending pepper shading and glazing techniques to create depth and structure. “I treat every tattoo as an opportunity to improve,” he says, emphasizing his philosophy of constant evolution.

For emerging tattoo artists, RenderTattoo stresses the importance of foundational training. “Master light, shadows, anatomy, and composition before chasing trends,” he advises. He also highlights the value of patience, humility, and authenticity in a field increasingly shaped by social media visibility. “Discipline and real skill matter most,” he insists, advocating for collaboration with mentors and a relentless focus on personal growth.

Looking ahead, RenderTattoo continues expanding his international client base while preparing for judging roles at high-profile tattoo conventions from 2026 onward. His work remains rooted in a vision of timeless artistry. Whether through sprawling, detailed back pieces or intimate blackwork designs, he aims to capture meaningful moments on skin — a practice he views as both a craft and a connection between artist and client.

With his eye for cinematic composition and dedication to excellence, RenderTattoo is not just shaping his own career but contributing to the evolving narrative of modern tattooing. As he continues to push boundaries, his impact on the industry remains as deliberate and striking as the tattoos he creates.

Check out RenderTattoo’s website at rendertattoo.com.