'To bring you even closer to the creative minds behind the art, we’ve launched a brand-new Q&A series featuring conversations with our showcased artists. Through these candid sessions, we uncover their journeys as individuals and creators—exploring their unique processes and sources of inspiration. Read on for their thoughtful responses to a series of curated questions. Our heartfelt thanks go out to each artist for sharing their time and insights so openly with us.'
Paul
Laura Tinald
a) When did you first realise that you wanted to become an artist?
Sounds cheesy, but I always knew! Drawing and painting were always my favourite things to do, even as a very young child.
(b) Is there a piece of art or artist that changed your life, if so what/who was/is it and how did your life change?
I have a vivid memory of being at Birmingham Museum and Art Gallery when I was a kid and seeing La donna della Finestra (Unfinished) and being blown away. I was captivated by the beautiful detailed face and hands, against the orange background and the fact it was unfinished, yet balanced. Later, at College, I discovered the fashion illustrator, David Downton, who has heavily influenced my style.
(c) How do you pick your Icon subjects?, what draws you towards the 70's and 80's and how would you define an icon?
I am drawn to the 70s and 80s because of the pop culture of that time and a lot of my favourite music came was made then. For me, an icon is someone whose appeal transcends their lifetime or the era they first became popular.
(d) What advice would you give to someone who wants to pursue a life in art?
You can never be too good at what you do, so keep practising your craft. Also make the most of the free channels where you can publish and promote your work.
(e) Who is your favourite person to paint and why?
David Bowie, Prince and Audrey Hepburn. They all have the most beautiful, angular faces.
(f) Where do you see your art in 10 years?
Hopefully on a sleek hardback coffee table book about music icons.
(g) Your partnership with Sweet Theatre chocolate bars is impressive, could you talk a little about the partnership and your thought process, creating images to match the products?
Sweet Theatre is the brainchild of Sally Wood, who is a theatre producer. She saw my work at a café in Moseley, Birmingham and got in touch to tell me she liked it. Then, when she decided to create her own range of chocolate bars, she asked if I would like to illustrate the wrappers. It was a really fun project! Each of the wrappers shows a Shakespearian heroin, so I kept these characters in mind when creating the illustrations and tried to make each one unique.
(h) What question would you want to be asked in an interview about your art?
I think we have covered it!!
www.lauratinald.co.uk
Harumi Hironaka
a) When did you first realise that you wanted to become an artist?
Growing up, I never knew that being an artist could be a real thing. I was born in a country where most artists need another job to make a living, and as the granddaughter of immigrants, I was raised in a pretty traditional environment where pursuing art seriously wasn’t encouraged. So I never had a big “realization” moment… it just kind of happened while I was doing other things.
b) Is there a piece of art or an artist that changed your life? If so, what/who was it, and how did your life change?
Real tough question. I can think of so many movies, shows, songs, books, and paintings that have touched me and shaped me in different ways. But in this particular context, I’d have to say Sailor Moon, haha. I remember being a little girl, watching the anime and being completely blown away by the colors, the figures, the expressions. I drew and painted all the characters, and that’s probably where the obsession really began.
c) How do you choose your subjects? Are they based on people you know?
I think my subjects are actually one single “being” that kind of haunts me (or I haunt her, I’m not sure). Sometimes I find her in real people. Other times I have to piece her together myself, like my own little Frankenstein creation made from parts that I like. And when all else fails, I use myself as reference, but I change every feature until I can’t see myself in it anymore.
d) What advice would you give to someone who wants to pursue a life in art?
I think everybody has to find their own way. What is true for me might not be true for them. But I’d remind them that what they create does matter. Even on the days when the world makes you feel like it doesn’t, and maybe especially on those days.
e) Could you describe your process and how producing art makes you feel?
My process is mostly intuitive. Once I’ve transferred the sketch onto the paper, I don’t really follow a strict formula. Since I work with mixed media, I just pick whatever feels right at the time (colored pencils, acrylic, oil) usually whatever will get me the result I want the fastest. Painting like this is exciting, but also terrifying for an anxious person like me. I barely know what I’m doing half the time, but somehow it still feels right. And it works! I go from loving it, to hating it, and then back to loving it again… until I finally give up obsessing over it and call it finished.
f) Where do you see your art in 10 years?
I’ve always had a hard time picturing myself (or my art) far into the future. Thinking beyond tomorrow has never been my strength. But I do hope that in ten years we’re both doing great. I hope my work has grown in ways I can’t yet imagine, that it still feels honest, and that it’s reaching the people who are meant to see it. If I can keep creating with the same curiosity and stubbornness that keep me going now, I think I’ll be exactly where I need to be.
g) What question would you want to be asked in an interview about your art?
I think I’d want to be asked a question I never gave much importance to in the past: my formation as an artist. I used to feel self-aware and insecure about being self-taught. So when my paintings started becoming popular, my imposter syndrome went straight through the roof. It was paralyzing at times, and I still deal with it occasionally. But I’ve come to realize that maybe it’s in the chaos of my process that the appeal of my work lies. I have a feeling people sense it and it speaks to them. So now that I kind of know what I’m doing, I have to remind myself to let go a little, to have fun with it, and stay honest. My work might look better now, in terms of technique, but it will always be messy and conflicted on the inside.
And I like it that way.
www.instagram.com/harumi_hironaka/
Paul Connor
a) When did you first realise that you wanted to become an collector of art and then own a gallery?
For as long as I can remember, I’ve not only collected art but drawn profound inspiration from it. My admiration for artists runs deep, and I am convinced that art is such a powerful medium that it can genuinely transform culture for the better. Art is a vivid flash of the human spirit, speaking to the very heart of what it means to be human—where creativity, imagination, and skill come together to create thought‑provoking beauty. As a gallery owner, my purpose is to share this passion and champion the artists who make this work possible. The world needs more beauty, more imagination, and more artistic endeavour—and I am committed to nurturing and showcasing exactly that.'
(b) Is there a piece of art or artist that changed your life, if so what/who was/is it and how did your life change?
'For more than 50 years, I’ve been captivated by art and the people who create it—yes, that does give my age away. I first lost myself in the shimmering worlds of Impressionism and the exquisite Japanese woodblock prints of the Ukiyo‑e period. Then, in 2012, I stepped into a gallery and encountered Candice Tripp’s “This Will Hurt Tomorrow,” and in that instant, everything changed. That single work didn’t just catch my eye; it completely altered the course of my life. It’s a striking example of an artist at the height of her powers—a sublime collision of colour, meticulous detail, and mature themes, all playfully embodied by otherworldly children in shadowy woods.
(c) How do you pick your art and artists?
For me, it’s simple: it all comes down to emotion. I need to feel that rush of awe—sometimes even a little jolt of shock. A work has to move me on a deeper level. Of course, the artist’s skill and the strength of the composition matter, but popularity or investment value have never guided my choices when I decide what to acquire or showcase.
(d) What advice would you give to someone who wants to pursue a life in art?
'Over the years, I’ve noticed a few defining qualities in the artists, performers, and athletes I admire most: unwavering dedication, quiet resilience, relentless determination, and a fierce passion and belief in their chosen path. I’m convinced that what you choose to pursue will not only be deeply meaningful to you, but will also create a positive impact in the world—making every sacrifice of time, energy, and resources truly worthwhile. I know I still have a journey ahead to build a gallery that is both financially strong and highly respected by the artists I represent, but I’m wholeheartedly committed to that vision.'
(e) Who is your favourite artist to why?
'No Comment'
(f) Where do you see your art gallery in 10 years?
'Bigger, better, brighter and bolder!! – In the years ahead, my greatest ambition is to earn the genuine respect of the artists I represent through unwavering ethics, honesty, and a shared passion for art. I aim to continue growing a community of dedicated collectors who value my guidance, trust my eye, and champion the gallery’s vision. Above all, I want to be in a position to introduce powerful work and talented artists to a much wider audience, inspiring more people to recognise just how vital and transformative art can be in our modern world.
(g) What question would you want to be asked in an interview about your art gallery?
“How can I dive deeper into the world of art?”
Our answer: immerse yourself. Explore online resources, browse your local library, and spend time in galleries and museums both nearby and further afield. Ask questions, connect with like‑minded enthusiasts, and join creative communities. The more you get involved, the more you’ll see, feel, and fall in love with the art around you. Let curiosity lead you—and be inspired.
www.connorcontemporary.com
Details of the art featured:
Candice Tripp
'This will hurt tomorrow'
2012
Edition of 65, signed and numbered
12 colours on Somerset Satin Paper 300gsm
85 x 87 cm
www.candicetripp.com
Sandra De La Cruz
