Carla Acácio: Chaos Pixie Tattoo

Your work is influenced by illustrative design, mythology, and anime. How do these inspirations shape your approach to both tattooing and digital art?

Carla Acácio: As a 90s kid, anime was very popular during my childhood. I developed an interest for art and drawing thanks to these pop culture influences, and they’re still a big influence on me today. I was also raised as a conservative Christian, and as I grew older, I started to yearn for a more fulfilling spirituality and world view than what my religious upbringing could provide me, so I started looking into other cultures. That’s where the mythology interest comes from. Anime is more of a technical base for my work and mythology/spirituality how I give it meaning. I aim to create art that’s both technical and meaningful.

Tattooing is such a tactile, permanent medium, whereas digital art allows for infinite revisions. How does working in these two spaces influence your creative process?

I use the flexibility of digital work as a base before turning it into something permanent. I like to digitally sketch most of my artworks and tattoo designs; I prefer using the digital layers to work on my sketches instead of several sheets of paper on a light table. It feels more practical and less wasteful. Once I’m happy with the line work I can either use it for a tattoo stencil, print it and use it as base for a traditional media painting, or add another layer if it’s going to be a digital artwork.

The theme of this exhibition is ‘duality’. Do you see this reflected in your art – in contrasts between tradition and modernity, permanence and impermanence, or different cultural influences in your work?

I was thrilled when I saw the theme. I think all artworks have duality present in some way; muted colours vs bright colours, light vs shadow, sharp vs soft, etc. Tradition is always a great base for an artist but there are so many traditional ways of doing art. I tend to gather what’s useful to me from different perspectives, then integrate it to my work which creates something “new” and mine.

As for tattoos, they might be permanent but the human skin canvas goes through much more change over time than a framed artwork; this is something I always try to consider with my tattoo designs, and I suppose that could be considered duality.

As a Brazilian artist now based in Aotearoa, how has the move influenced your artistic style and creative journey? Do you find elements of both cultures appearing in your work?

Absolutely, I use to say Brazil and New Zealand are culturally opposites in so many ways: very ‘dualistic’. I have a wide range of interests and influences as an artist thanks to South America being such a culturally rich and vibrant place.

In New Zealand I learned to be more relaxed, more focused and more technical as an artist; this has definitely had a positive impact in my work. Like I said before, I draw from different perspectives, which includes Brazilian and New Zealand culture.

Your tattoo art is often about bringing someone’s vision to life on their skin. With digital art, you have full creative control. How do these two experiences compare, and what do you enjoy most about each?

Most of my clients give me creative freedom, so I can bring their idea to life using the artistic skills and knowledge I have to offer. I also try to create the design considering the personality and the tastes of each specific client: the colours, the elements, etc., are all done considering the individual and placement.

The biggest difference would be that if I’m not creating for a client then I don’t have to consider these things, and so the themes are usually about something I like. I can also be more experimental and design tattoos that no one specifically asked for but that I think would look beautiful on a human body.

One of the best feelings for me as a tattoo artist is when my client is happier with the final result than with what they envisioned, and when the tattoo helps them feel more confident, beautiful and powerful. With my own artwork I’m happiest when it’s technically good and also expresses something meaningful that can touch people’s souls.

Emma Voyce: Sour Tea

Sour Tea has a unique, quirky aesthetic that blends digital art with fashion. How did the concept for the brand come about, and what drew you to digital print as your medium of choice?

One thing my nana used to say is “soak life up like a sponge”. She meant to go out and live. This was at the forefront of my mind when I decided to do this. I had been missing developing and owning a brand. Thinking about how I already had so much on my plate, could I, should I? I decided that I needed something on my plate that was just for me, to enjoy and delve into, and everything else could just fit around that.

The idea of creating weird and unusual imagery just stuck, and so did the name. The idea of Sour (sour) and Tea (sweet) blended so well and lined up on so many levels. Of course it won the family vote too.

Sour Tea embodies the ethos of ‘hard work pays off,’ especially when learning something new. Imagine Sour as the grit and grind, the sweat and hustle that go into mastering a new skill or  smashing a goal. And then there’s Tea,  the sweet reward once you nail it. The Sour Tea feeling is the combination of hard work and finally nailing it.

Digital art is great because you can use layers and redo parts you aren’t happy with. I can also send the files to our printer, ready to print. I like being able to draw anywhere, I don’t even need an internet connection on my tablet.

Family plays a huge role in your creative process, with your husband and children contributing ideas and inspiration. How does this collaborative dynamic influence the designs you create?

I definitely have a lot of ideas thrown at me. The kids have their own ideas which I encourage them to draw. They now pick up my tablet and have started their own designs. I hope to get their designs on some T-shirts at some stage!

My husband takes photos and is a great sounding board. My 14-year-old is really artistic and often provides direction on photoshoots and styling. I get his advice when I’m stuck on how to approach a technical part of my drawing, like shading. Mr 10 is always coming up with wacky ideas. Mr 16 is my model! And Miss 3 loves picking out a T-shirt to wear! She’ll say, “I want eyeballs today”. Everyone helps with the character background stories.

It’s always been important to me that it’s more than just a label. Don’t just put clothing out there. Tell people who you are, why you’re doing it, and what you stand for. People want to know these things, and it creates transparency. It’s bigger than just a piece of clothing. Building a community around the label makes it even more worthwhile.

The theme of this exhibition is ‘Duality.’ How do you see that reflected in your work—in the balance between past and present, fashion and art, personal expression and commercial design?

I love collaborating with other artists and I was looking for like-minded people. I found Lou Agas’ profile and post about the Duality exhibition on Instagram. I instantly thought that it matched up for me given most of my pieces are two ideas mixed. Food based characters like Popsicle Pete, the half-dead treat. He lives in your freezer and brings back your summer memories with each lick. It’s a play on the unexpected.

My Duality piece is based on two emotions in one person, caring and not caring. What’s important to them and how it changes over time, age, phases of life. It’s going to mean something different to everyone. The look is bringing retro vibes as well that you see throughout the brand.

One of my biggest drivers behind Sour Tea is enjoyment, I want to enjoy the process. Being able to design, to draw, to curate a collection, brings me so much joy. The commercial aspect is just a bonus.

Duality has also come up in the real world of my brand. I wanted to sell some clothing pieces, yet what has also happened is I have met amazing people. From a creative photoshoot and short film, to coffee shop raves, to the PIXelated exhibition, I am enjoying my new community of creatives. It’s been epic and I look forward to more.

Sour Tea represents a fusion of digital art and fashion. How does exhibiting your work in a gallery setting differ from showcasing it through clothing?

Oh, it’s a completely different format. I normally show my designs in fashion shows and in clothing stores as garments. I’ve had to learn the process of printing digital art onto gallery-quality paper, and the specifics of framing and tagging. I am fortunate that the crew at PIXelated are so giving with their gallery and digital art knowledge.

What message or feeling do you hope people take away when they wear your designs?

I definitely want them to have a laugh. I want them to be comfortable in the cotton and to feel good about their sustainable purchase. It’s all about having fun and looking at things a bit differently. Not just thinking outside the box but taking the box and kicking it over the fence. You have one life so soak it up!

Mathew Johnson: Abmon Photos

Your work is rooted in exploration—both physically, through your nomadic spirit, and artistically, through digital experimentation. How has this journey influenced your approach to photography and digital art?

Through my journey of exploration – both in the physical and artistic realms – I have awakened a deeper awareness of the unseen layers within the ordinary. My nomadic spirit and artistic experimentation have attuned me to the energy of each moment, allowing me to perceive its essence before it fully manifests. By journeying inward, I expand my connection outward, aligning with the frequency of life as it unfolds. This heightened intuition allows me to capture and share deeper, more authentic stories – visual echoes of truth, presence, and the divine dance that is existence.

The theme of this exhibition is ‘Duality.’ How does this concept resonate with your work? Do you see it reflected in the contrast between travel and home, digital and physical, or something more existential?

Duality is a concept that resonates deeply within my work, as it can be found in every corner of existence. It is an existential truth, a theme that many scholars, like Carl Jung, Immanuel Kant, and Plato, have dedicated their lives to exploring and dissecting. I see duality most prominently in the interplay between the conscious and subconscious elements of existence, which I try to encapsulate through the essence of my works.  It is in the way the trees dance with the wind – static and fluid. It is in the way light dances with shadows – conscious and unconscious. But I digress – let me focus on the piece in the exhibition. Here, I see duality reflected in the way society views feminine energy and the profound contrast between her colorful spirit and the black-and-white reality she is forced to navigate. The world tells her to smile, yet it overlooks the true radiance that emanates from within.

You initially experimented with digital abstract art before fully embracing photography. How has that early experience shaped the way you see and compose images today?

Years of digital experimentation have profoundly shaped the way I see and compose images. The moment an image appears on my camera’s LCD screen, I already envision the layers it holds – I see the composition not just as it is, but as it can become. I instinctively know which layers I will need to use in Photoshop to enhance its essence, almost as if the image reveals itself to me in stages. This deep understanding of layering also allows me to play with and sculpt light, knowing intuitively which tones, contrasts, and blending modes will bring my vision to life. Beyond post-production, this foundation in digital abstraction has also transformed the way I compose images. It has given me the freedom to experiment creatively, finding new and exciting ways to showcase emotion, energy, and connection. I see compositions as dynamic and ever-evolving, allowing me to push beyond the conventional and capture the unseen – whether it’s a fleeting moment of intimacy, the weight of solitude, or the vibrancy of movement. In many ways, the more I experiment, the less I think – and the more I simply know. Yet paradoxically, the more I know, the more I realise how much remains unknown. It is a cycle of discovery, a process that mirrors both my life and my art. To create is to surrender to this endless flow, allowing intuition and experience to guide me toward new revelations – without experimentation, I would have never stumbled upon this realisation.

Your work often captures raw, unfiltered moments that speak to the human experience. How do you balance authenticity with the possibilities of digital enhancement and post-production?

Authenticity is at the core of my work, and I see digital enhancement not as a way to distort reality but as a tool to amplify its essence. The human experience is layered – our emotions, perceptions, and memories are never just one-dimensional. In the same way, photography isn’t just about capturing what is seen but, more importantly, about conveying what is felt. I strive to find a balance where post-production enhances the emotional truth of the moment rather than altering its integrity. Whether it’s adjusting light and contrast to mirror the atmosphere I experienced or hyper-emphasising textures and colors to evoke deeper emotion, my goal is always to stay true to the raw essence of the moment while allowing the image to communicate on a visceral level. It’s an interplay I feel I will always be striving to master, and with the rise of AI, I find myself clinging even more to authenticity. A robot or computer code will never be able to outweigh the power and beauty of the human mind and hands.

As an artist with a background in communications, how do you see photography as a form of storytelling? What do you hope viewers take away from your work in this exhibition?

It might sound cliché, but a picture paints a thousand words, and if captured with the right intent, it can encapsulate an entire era. Think of Migrant Mother by Dorothea Lange – one image of a distressed mother, encapsulating the Great Depression. Think of Fleeing a Dust Storm in Oklahoma by Arthur Rothstein. And then think of all the images you’ve saved on your phone – why did you take them? You wanted to capture and hold a piece of your life’s story, cherishing the memory before it fades into oblivion. I could honestly talk about the storytelling essence of photography until the cows come home, but I’ll save you the reading and say – just ask me about it in person when you come to see the piece in The People’s Gallery from March 22nd to April 12th. I hope my piece allows you to slow down and observe the world, seeing the little things in infinite detail. Or, said with a little more artistic finesse: the more you stare, the more you see. Come, let your eyes blur and reveal forms hidden within the duality of my piece – oops, I meant to say “peace”. But isn’t duality just peace phrased more intellectually? After all, once you find balance and integration, you will inevitably find peace.