Kai Clements shared how he captures that intangible field we all exist within - The one shaped by thought, emotion and presence.
1. Could you walk us through a typical day in your studio? Do you have a routine, ritual or playlist that helps you get in a creative headspace?
My days shift depending on what needs attention in the studio and what needs prioritizing.
Some mornings are spent preparing for intricate line work, mapping out compositions, or experimenting with subtle gradients that shape the energy of a piece.
When I am creating work, this will consist of painting, drawing, layering and reworking.
I live near the sea and stepping away for a walk is part of the process. That reset — the shift in light, the sound of the tide — often unlocks something unexpected. Ideas tend to arrive in those in-between moments, when I'm not trying to find them.
The creative process can start anywhere — in nature, on a quiet walk, in a fragment of architecture, or even a piece of music. It’s about staying open and following where it leads.Some days there may be time for photographing work, organizing the studio, answering emails, or planning upcoming exhibitions.
"I live near the sea and stepping away for a walk is part of the process. That reset — the shift in light, the sound of the tide — often unlocks something unexpected."
2. How do you interpret the idea of “human frequencies” and how did that concept find visual form in your pieces?
“Human frequencies” speak to the invisible rhythms that move through and between us — emotional pulses, internal vibrations, even collective states of being. I’m interested in the unseen forces that connect people: intuition, mood, tension, harmony. These are not things you can touch, but you can feel them — in a room, in a relationship, even in a moment of stillness.
Visually, I translated that into flowing lines, layered patterns, and shifts in density and colour. Each piece is a kind of frequency map — a visual echo of energy, both individual and collective. The repetition and movement in the line work are meant to evoke the sensation of resonance — how one frequency can influence another, how we all subtly tune into each other without realizing it.
It’s about capturing that intangible field we all exist within — the one shaped by thought, emotion, and presence.
“Human frequencies” speak to the invisible rhythms that move through and between us — emotional pulses, internal vibrations, even collective states of being. I’m interested in the unseen forces that connect people: intuition, mood, tension, harmony."
3. Were there any specific materials, motifs, or techniques you used in this show that were new or experimental for you?
One of the key shifts was how I approached layering — I began experimenting with different levels of transparency and motion within the line work, allowing certain forms to feel as if they’re emerging or dissolving, rather than sitting flat on the surface. It added a more immersive, almost dimensional quality to the pieces.
I also explored subtle shifts in colour and how that affects how the eye moves across the composition. Some works incorporate gradients that were more intuitively built than in previous shows, allowing the flow to feel less rigid and more organic.
So yes, there was experimentation — but always with the intent of deepening the connection between the viewer and the work. Sometimes the smallest shift in technique can create the most powerful change in experience.
"The line work mimics the patterns found in wind currents, tidal flows, plant growth — things that evolve over time and hold a kind of quiet power."
4. In what ways does your art serve as a medium for exploring the way nature influences the human psyche?
Nature is at the core of my work. The repetition, the movement, the chaos and calm you find in natural systems — these are mirrors of the human experience. I am fascinated by how the rhythms of the natural world affect us psychologically, often without us realizing it.
The line work mimics the patterns found in wind currents, tidal flows, plant growth — things that evolve over time and hold a kind of quiet power. When you engage with these forms visually, there’s a meditative quality that can shift your state of mind. That’s intentional. I want the viewer to feel something elemental — a sense of stillness, expansion, or even disorientation — the same way standing in a vast landscape or watching a storm can alter your internal frequency.
5. Would you consider this exhibition a call to action, a reflection, or something else entirely?
This exhibition sits somewhere between reflection and resonance — it's not a direct call to action in the traditional sense, but it is a call to awareness. Human – Nature explores the unseen energy that flows through people, environments, and emotions. It invites viewers to slow down, tune in, and consider how deeply connected we are — not just to nature, but to each other.
It is not shouting a message — it’s more like a frequency being broadcast quietly, asking: Can you feel this?
6. What message or feeling do you hope visitors walk away with after experiencing Human - Nature?
Ideally the work to offer a kind of pause — a moment to reflect, to feel grounded or even transported. Some people might feel a sense of calm, others might feel an energetic pull or tension. That range is important. The pieces aren’t meant to dictate a single message, but to create space for individual interpretation and emotional response.
Ultimately, I’d love for people to leave with a deeper sense of connection — to the natural rhythms around them, to the pulse within themselves, and maybe even to the idea that art can act as a bridge between the two. That quiet exchange, that resonance — that’s where the meaning lives.
"Human – Nature explores the unseen energy that flows through people, environments, and emotions. It invites viewers to slow down, tune in, and consider how deeply connected we are — not just to nature, but to each other."
"In the end, I think that friendship added a layer to the show. You can feel that push and pull — the energy between order and disruption, between fluidity and impact. That tension is what makes collaboration exciting, and having a shared history only amplifies it."
How has your long-standing friendship with D*Face shaped the collaborative process for this exhibition?
My friendship with D*Face goes way back — there’s a kind of creative shorthand between us now. When it came to this exhibition, the process was less about defining strict boundaries and more about finding where our worlds overlap and spark off each other.
There’s a mutual respect — we’re coming from different visual languages, but there's a shared desire to push boundaries and communicate something beyond the obvious.
In the end, I think that friendship added a layer to the show. You can feel that push and pull — the energy between order and disruption, between fluidity and impact. That tension is what makes collaboration exciting, and having a shared history only amplifies it.
