Featuring Artists of the Season Winners - Winter 2025!
- ART from HEART
- 2 days ago
- 8 min read
ART from HEART is excited to announce the Winners of the Artist of the Season featured in our WINTER 2025 edition!
3 Artists, 3 Mediums, 3 Countries:
Katherine Boland - Photomontage - Merimbula, Australia
Pip Woolf - Watercolour with Resist Technique - Wales/UK
Yula Kim - Oil Painting - South Korea/UK
The competition is open to multimedia artists worldwide and was created to showcase, promote and raise the visibility of the work of emerging and mid-career artists. The winners are featured on our website and social media platforms and considered for any upcoming curatorial projects by ART from HEART. Artworks are selected based on creativity, originality, quality of work, and overall artistic ability.
Apply NOW for an opportunity to get featured as Artist of the Season in 2026
Increase your outreach, visibility, & artist profile!
Featuring Artist of the Season Winner Winter 2025:
Katherine Boland - Photomontage - Merimbula, Australia
Fragile Terrains and the Ethics of Witnessing
Artist of the Season Winner Katherine Boland’s practice unfolds at the intersection of environmental urgency, technological experimentation, and attentive observation. Based on the south east coast of Australia, she works within a landscape shaped by shifting tides, volatile weather, and the enduring aftermath of ecological rupture. Her work does not depict nature as a distant subject, but as a living system in which human presence is deeply entangled, fragile, responsible, and irrevocably present.
©Katherine Boland, pigment print on Hahnemühle Photo Rag, Photomontage, 2024 All Rights Reserved
Left to Right: Mountain Man No. 2 & Mountain Man No. 1
©Katherine Boland, pigment print on recycled aluminium or archival cotton rag paper, Photomontage, 2024 All Rights Reserved - Left to Right: Flourish No. 1, Flourish No.3, Flourish No. 6
©Katherine Boland, pigment print on archival paper, glass or recycled aluminium, Photomontage, 2025, All Rights Reserved - Left to Right: Canopy No.3, Canopy No. 2, Canopy No. 1
Working across photography, digital collage, and experimental processes, Boland constructs layered visual environments using photographic and scanned fragments of natural material—burnt timber, leaves, and plant forms— combined with digitally fabricated elements. This hybrid approach mirrors the tension she explores: environments caught between destruction and renewal, resilience and vulnerability.
Since the 2019–20 Black Summer bushfires devastated large parts of her region, environmental themes have become central to her practice. Fire is not approached solely as spectacle or tragedy, but as a transformative force, one that alters land, memory, and perception. Boland’s work becomes a form of witnessing, attentive to what has been damaged while remaining open to the emergence of new life.
Rooted in direct observation and connection to place, my practice is both an act of witnessing and a form of care.
This ethic of care is fundamental to Boland’s work. Her images resist speed and consumption; instead, they invite viewers to slow down, to linger, and to consider what is at stake. Beauty is present, but never detached from consequence. Through digitally mediated processes, Boland reimagines landscapes not as fixed sites, but as evolving conditions shaped by human decisions and natural resilience.
Ultimately, Katherine Boland’s practice asks how we might look more carefully, act more consciously, and acknowledge our shared responsibility within the ecosystems that sustain life. Her work does not offer solutions, but it creates space for reflection, where attention itself becomes a meaningful act.
About the Artist
Katherine Boland is a multidisciplinary artist working across photography, digital media, and experimental processes. Her work engages with global ecological conversations and has been featured at United Nations Climate Conferences in Glasgow, Egypt, Dubai, and Azerbaijan. In 2023, her artwork Fire Flower No. 8 was presented by the Australian Prime Minister to U.S. President Joe Biden, demonstrating the power of art to bridge environmental awareness and political discourse.
She also participated in OUTPUT: Art After Fire (2020), an international project connecting artists from Australia and the American West in response to bushfire recovery. Boland is the author of Hippy Days, Arabian Nights (Wild Dingo Press, 2017), further highlighting her multidisciplinary approach to exploring culture, memory, and place.
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Featuring Artist of the Season Winner Winter 2025:
Pip Woolf - Watercolour Painting - Wales/UK
Landscape, Memory, and Collective Making
Artist of the Season Winner Pip Woolf’s artistic practice unfolds at the intersection of landscape, collective memory, and quiet ecological resistance. Rooted in drawing, yet extending into installation, film, books, and social action, her work asks how we might live—together—within fragile systems shaped by care, loss, and responsibility.
©Pip Woolf, Watercolour and resist, 2025, All Rights Reserved
Top Left to Right: Learning from Woollenline; Palimpsest
Bottom Left to Right: One line, but how many conversations?; Carbon Capture, 2014
Central to Woolf’s trajectory is Woollenline (2010–2014), a landmark participatory project that brought together 1,000 individuals to repair a damaged peat bog high in the Black Mountains of Wales. Using waste wool, volunteers created long felted lines across the scorched terrain left by a catastrophic fire that had suppressed plant growth for over three decades. The project operated simultaneously as a landscape drawing, an environmental experiment, and a social structure—one that generated dialogue, unexpected reconciliation, and new modes of learning. It received international recognition and awards, yet its most profound impact was experiential: the relationships formed and the collective knowledge embedded in the act of making.
In 2022, Woollenline was physically erased. In the name of conservation and “professional” land management, the wool felts—despite visible evidence of plant regeneration—were covered with coir and jute. For Woolf, this erasure became a catalyst for a deeper inquiry into what endures beyond material disappearance.
My submission is a revisiting of what cannot be obliterated—the experience, conversations, learning, and joy of participation.
Her current work approaches the mountain as an absent archive. Through drawing and watercolour, Woolf traces what remains unseen: the imprint of 1,000 recorded participants and the countless unmeasured connections that emerged through shared action. Watercolour functions as both material and metaphor—ideas bleeding between people, knowledge dispersing laterally, understanding formed through proximity rather than hierarchy.
Across her practice, Woolf consistently positions artistic process as a form of ethical attentiveness. She works alongside others—artists, farmers, students, politicians—allowing their worlds to inform her marks. Found colour, physical matter, and elemental forces are embedded within carefully constructed conceptual frameworks, reflecting her commitment to art as a relational, lived practice rather than a singular object or statement.
About the Artist
Pip Woolf is a visual artist with a background in environmental education and presentation. Her practice is embedded in landscape and community, exploring our place on the planet through practical, physical, emotional, political, and philosophical enquiry. Drawing underpins all aspects of her work.
In 2002, Woolf received a Creative Wales Bursary from Arts Council Wales to create Re-presenting Wool, a film and installation. Marking a Point (2005–07) arose from sustained observation of Welsh Assembly debates, while Water Power (2008/09) took the form of an artist book responding to the installation of a micro-hydro electric scheme at her home and workplace.
Conceived in 2009, Woollenline marked a pivotal shift in Woolf’s practice, consolidating years of observational drawing into a visual language capable of articulating subtle behaviours, power relations, and ecological interdependence. Her current work revisits this project as a site of memory and learning.
From 2015 onwards, Woolf’s work has also investigated artistic process alongside dementia, leading to exhibitions across Somerset, Warrington, and Brecon, and the publication Dementia Pronouns, Matter of Identity: I, you, we & other.
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Featuring Artist of the Season Winner Winter 2025:
Yula Kim - Oil Painting - South Korea/UK
Vitalism, Memory, and the Fragile Poetics of Coexistence
Artist of the Season Winner Yula Kim’s painting practice unfolds as a sensorial and philosophical inquiry into what it means to live—together—in a world marked by movement, loss, and ecological vulnerability. Rooted in the tradition of painting yet expansive in its conceptual reach, her work navigates the threshold between vitality and collapse, where histories, landscapes, and inner worlds quietly converge.
©Yula Kim, Oil and natural pigment on canvas, 2025, All Rights Reserved
Top Left to Right: Kairos; Lapis, Time and Ego Entwined
Bottom Left to Right: The One a Vast Blue Bloom and the Birds Never Seen; The Mirage Keeper
Yula's canvases vibrate with saturated colour and expressive brushwork, drawing the viewer into layered spatial compositions that blur distinctions: landscape and interior, organic growth and urban structure, fragility and force. At times richly textured and meticulously detailed, at others gestural and fluid, Yula’s visual language mirrors the rhythms of life itself—cycles of blooming, breaking, erosion, and renewal. These shifting forms echo themes of memory and migration, evoking emotional terrains shaped as much by personal history as by collective, environmental experience.
My painting practice is a way of exploring the interconnectedness of all living beings. Through colour, form, and the recurring presence of birds, I reflect on memory, migration, and ecological loss—moments where life simultaneously blooms and breaks.
Central to Yula’s practice is a deep engagement with Vitalism, the belief in the fundamental interconnectedness of all living beings. This philosophy finds recurring expression through birds, which appear throughout her work as potent symbols of resilience, transience, and precarity. By referencing endangered species such as the ʻōʻō and the huia, Yula positions painting as an act of witness: part mourning, part resistance. These avian figures operate not only as motifs, but as messengers, carrying stories of extinction, displacement, and the urgent need to reconsider how humans coexist with the more-than-human world.
Importantly, Yula’s paintings resist nostalgia or sentimentality. Instead, they offer a post-human, ecofeminist perspective, one that challenges hierarchical ways of thinking and centres care, interdependence, and hybridity. Drawing from her intercultural experiences and lived realities between cultures and geographies, she weaves together personal, historical, and ecological narratives that question dominant modes of progress and control. Nature, in her work, is never a passive backdrop; it is an active, relational presence, shaping and being shaped by human life.
Through her immersive compositions, Yula Kim invites viewers into a space of reflection and responsibility. Her paintings ask us not only to look, but to feel our place within life’s intricate web, and to imagine more compassionate, balanced pathways forward. In a time of accelerating environmental and social rupture, her work offers a quiet yet powerful proposition: that healing begins with attention, care, and the courage to see ourselves as part of a shared, living system.
About the Artist
Yula Kim is a Korea-born artist based in London. Her practice interweaves cultural histories, ecology, and symbolism, with painting as her primary medium. She has exhibited at major institutions including Tate Modern (2023), the Science Museum (2024), and the Royal Borough of Chelsea and Kensington as part of the Platinum Jubilee Collection (2022). One of her works was selected to commemorate His Majesty King Charles III’s Coronation and was displayed at Windsor Castle during the Coronation Concert in 2023.
Her work is held in collections such as the Royal College of Art Special Collections and the Heasung Art Bay Centre, as well as private collections internationally. Yula holds an MA from the Royal College of Art and an MA in Museums and Galleries in Education (Distinction) from University College London. In 2025, she was interviewed by Korea.net, the official platform of the Ministry of Culture, Sports and Tourism.
Yula Kim is an artist whose work resonates deeply with our moment—where art becomes a space for remembrance, resistance, and the reimagining of coexistence.
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Apply NOW for an opportunity to get featured as Artist of the Season in 2026
Increase your outreach, and visibility, & raise your artist profile!
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