REROOTS is an independent art journal and growing international community documenting the stories of artists who have relocated across borders and continued their creative journeys in new places. Through personal stories, films, and artworks, we explore how a change of place can transform a life without ending an artistic path.
Independent, community-oriented and initially non-commercial. Every profile, interview and artwork on this site is published with the artist’s consent - sample content is clearly marked as placeholder.
Sample imagery — placeholders for artist photography and artwork reproductions published with consent.
Long reads, studio visits and documentary portraits: artists describing what it means to keep working — and keep seeing — after everything familiar has been rearranged.
Editorial preview: names, quotations and locations below are placeholders written to demonstrate the reading experience. They will be replaced by consented, published material.
Placeholder text. A first-person account of arriving with unfinished work in a suitcase, learning a new vocabulary of colour, and discovering that relocation can sharpen a practice instead of interrupting it.
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Placeholder text. Inside a shared workshop, a sculptor talks about earth, inheritance and the difference between a place you left and a place you learn to work in.
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Placeholder text. A photographer on winter light, the generosity of strangers and how an unfamiliar city slowly became a working archive.
Read the full storyREROOTS follows a scattered geography: studios in Lisbon and Berlin, workshops in Mexico City and Cape Town, a desk in Montréal, a print room in Kyoto. The map below is a living index of where artists in the network are working now — and it is deliberately unfinished.
Portugal · residence
Profile in preparation
Germany · residence
Profile in preparation
Mexico · residence
Profile in preparation
South Africa · residence
Profile in preparation
Canada · residence
Profile in preparation
Japan · residence
Profile in preparation
Türkiye · residence
Profile in preparation
Australia · residence
Profile in preparation
Where an artist chooses to share it, profiles also note a country of origin. Artists may keep that detail private — participation in REROOTS never depends on disclosing it.
Personal narratives about change, adaptation and the slow work of a new creative identity — written in the artist’s own voice, or told with them, in the places they now call working grounds.
Placeholder text. The artist describes a first winter without family nearby, a shared table rented by the hour, and the unexpected generosity of strangers who lent tools before they asked for introductions.
I did not arrive with a new identity. I arrived with a practice, and a place to keep practising.Placeholder quotation — sample copy
Placeholder text. Continuation: on translation, on the useful distance from an audience that knew the old work, and on what the artist hopes the next five years will hold.
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Placeholder text. Recorded over two afternoons in a small studio: the sound of the frame, the shift in colour between seasons, and how a material practice absorbs the geography it is made in.
My palette used to be inherited. Now it is observed.Placeholder quotation — sample copy
Placeholder text. Continuation: the artist’s account of learning from a new landscape and the decision to keep every sketch made after the move.
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Placeholder text. A short film and its transcript: a printmaker explains why the first hour of work in a new studio still feels like a negotiation, and why the artist now keeps two sketchbooks instead of one.
Placeholder text. Continuation: on repetition, on audience, and on the quiet decision to stay — for now, and for as long as the work keeps moving.
Continue readingA working index of the people in the REROOTS network. Filter by where they live now, by what they make, or by name.
8 artist profiles
No profiles match these filters yet. Try another country, discipline or name — the network is still growing.
All entries above are placeholders demonstrating the filterable index. Real profiles are added as artists consent to being featured, and can be filtered by country of residence, discipline and format.
REROOTS is imagined as a long-term, independent network: artists who know each other’s work because they have read it, written to each other, or shared a room — not because they share a postcode.
The aim is practical as much as editorial: visibility, introductions, mutual support, and the possibility of exhibitions and collective projects that a single artist could not stage alone.
Each profile is presented on the artist’s terms — their biography, their disciplines, their links, their pace.
Nationality is context, never a filter. People are presented by their work and their individual stories.
No commission, no marketplace, no membership fees. Sales and enquiries always happen on the artist’s own platform.
Interviews, written stories and short films from the REROOTS archive — published as they are ready.
Placeholder text. A morning with a printmaker in a shared workspace: paper bought by weight, a borrowed press, and the daily decision of what to make when the studio rent rises.
Open the entryPlaceholder text. On notebooks, unfinished thoughts and the private record that sits behind a finished body of work.
Open the entryPlaceholder text. A short filmed conversation about working across languages, and the translations that never quite land.
Open the entryAn online art magazine in several voices: written interviews, first-person narratives, documentary portraits, studio visits and short video features — each published with the artist’s approval.
Placeholder text. A long-form conversation about rebuilding a practice from zero, keeping an artistic identity intact across a border, and what changes when the audience arrives after the work rather than before it.
Read the interviewPlaceholder text. On renting a corner of a shared flat, learning a new hand, and the slow accumulation of small permissions.
Open the entryPlaceholder text. A visit to a weaving studio where the north window decides the palette of the month.
Open the entryPlaceholder text. A short film about repetition, patience and the economics of a shared press.
Open the entryPlaceholder text. On scale, silence and making installations that depend on the architecture of the place they are shown in.
Open the entryPlaceholder text. An account of making on paper that has to be imported, ordered in advance and paid for before it exists.
Open the entryPlaceholder text. Walking as method: the routes, the weather, and the frames that only appear in one particular month.
Open the entryNo entries in this format yet. The journal is growing with every published conversation.
Every entry above is placeholder content demonstrating the journal structure and format filters. Published stories will carry confirmed bylines, dates, reading times and country information supplied by each artist.
Placeholder subtitle: how an artist rebuilt a painting practice in a new country, and what the new light changed about the work.
Placeholder text. The work arrives before the sentence does — a long horizontal canvas, mostly ochre, cut by a line of blue that refuses to resolve. This is sample editorial copy demonstrating the reading typography of the journal: a measure built for unhurried attention.
Placeholder text. In the REROOTS conversation that follows, the artist describes the first months after the move: the practical work of finding a studio, the long silences of a language not yet fluent, and the moment when the palette began to shift without permission.
“I did not come here to start again. I came here to find out what the work becomes when nothing about it is familiar.”Placeholder quotation — sample copy
Placeholder text. The artist walks through a single year of work — the commissions that were declined, the exhibition that did not happen, the paintings that began as failures. Along the way: how a new landscape enters a body of work without becoming a subject of it.
Placeholder text. The conversation closes on an open question: whether belonging can be a practice rather than a document, and what it costs to keep two versions of a life in view at once.
Painter, based in Lisbon. Their work has been shown in — placeholder. They work slowly, in series, and revisit each series from a different city.
Based in Lisbon, Portugal · Originally from — not disclosed
Placeholder biography. A short, factual introduction written with the artist: training, current practice, the kind of work they are making now, and the context in which they make it.
REROOTS does not process sales, payments or commissions. Purchases and enquiries go directly to the artist’s own website, gallery or chosen external platform.
Placeholder text. The artist’s own account of leaving, arriving and working in a new country: what was carried, what was left behind, and what the first months of making actually felt like.
Placeholder text. A second paragraph covering the practical details of rebuilding a studio life, the new references that entered the work, and the parts of the practice that stayed the same.
Placeholder academy, city, years
Placeholder: teachers, traditions, references
Placeholder: selected group and solo exhibitions
Placeholder: public or private collections
Placeholder: series, materials, scale
Placeholder: gallery or independent
Placeholder statement, reproduced with permission. Artists write this text themselves; REROOTS edits only for length and house style, and marks any substantial changes.
REROOTS.ART is an independent international art journal and a growing community of artists who have relocated across borders and continued their creative lives in new places.
Relocating does not erase an artist’s history. The years before, the cultural background, the training, the memory of a particular light or coastline — all of it remains part of the work, even as new surroundings introduce unexpected possibilities. REROOTS is interested in exactly that overlap: the continuity and the transformation happening at the same time.
The project exists to document stories, increase visibility, connect creative individuals across borders and — slowly — build an international artistic community. It is not a charity, an immigration service or a commercial gallery, and the people it profiles are not defined by their relocation: their ideas, their practice and their individuality stay at the centre.
Work survives the move. What changes is everything around it — the audience, the material culture, the rhythm of a day, and the questions the work ends up answering.
Artists in the network often hold two cities, two languages and two versions of their biography at once. The journal gives that complexity room instead of flattening it.
REROOTS is not a ranking. It is a place to be found, and to find others — through work first, biography second.
A growing circle of profiles, introductions and conversations across countries and disciplines.
Long-form writing, studio visits and filmed conversations produced with the artists’ consent.
An aspiration for shared exhibitions and collaborative projects, developed together with the artists involved.
A space where artists can point to one another’s work, exchange practical knowledge and stay connected across distance.
These are intentions rather than existing services: the project is independent, community-oriented and initially non-commercial.
An independent, inclusive association of artists who have rebuilt — or simply continued — their creative lives in a new country. It borrows the warmth of an artists’ association without the bureaucracy: open, flexible, and built around the work.
Members keep their own platforms, galleries and clients. REROOTS adds something else: a shared room across borders, and a reason to know one another’s names.
Every member is presented as an artist in their own right, with their work, their discipline and their own professional links.
The network is built around shared attention: discovering work, reading carefully, and responding as peers rather than competitors.
Information, contacts and shared experience about studios, visas, shipping, materials and surviving the first year — shared without obligation.
Every story, portrait and work is published with the artist’s approval, and can be withdrawn at any time.
Introductions between artists working in the same medium or the same city, and collaborations proposed through the editorial team.
Studios, suppliers, translators, printers and fabricators — practical knowledge that is expensive to rediscover alone.
Possible future group exhibitions, digital group shows and travelling projects, shaped with the artists who take part.
REROOTS is an evolving cultural initiative, not a legally registered organisation, an official artists’ union or an established membership association. Participation is informal and voluntary, and the programme described here is a plan rather than a promise of existing events.
REROOTS is interested in artists who have relocated internationally and continue to develop their practice in a new place — whether they moved for work, study, family, safety, curiosity or something harder to name.
Tell us how you work now, what changed, and what you would like people to see. We are looking for honesty over polish: the most interesting stories are usually specific.
Submitting a proposal does not guarantee publication. The editorial team reads every submission and contacts the artists selected for a story, portrait or video feature.
Image licensing, publication permission and consent for filmed interviews are agreed individually with each artist at the editorial stage, before anything is published.
Nothing you send is published, sold or shared without your explicit consent.
For artists, curators, galleries, cultural organisations, journalists and anyone proposing an interview, a collaboration, an exhibition or another cultural initiative.
Tell us what you have in mind and who you are. We read everything, even if the answer takes time.
Placeholder email address — replace with the project inbox before publishing.
Social accounts are placeholders and will be updated once the official pages exist.
This section is a placeholder for the project’s full privacy policy. The policy will describe exactly which data is collected through the submission and contact forms, how long it is kept, who has access to it, and how an artist can request correction or deletion at any time.
In short, until that policy is published: information sent through the forms is used only to review proposals and answer enquiries. It is never sold, never published without consent, and never shared with third parties for advertising.
An independent international art journal and growing community documenting artists who relocated across borders and continued their creative journeys in new places. Non-commercial by design.
© 2025 REROOTS.ART — All rights reserved to the artists whose work is published.
Privacy policy · Placeholder content is clearly marked and will be replaced as real interviews are published.
