Selected by Bionda Sno

Tell us a bit about yourself

My name is Bionda Sno, based in Amsterdam with Surinamese roots. I am a trend watcher, focusing on the art curation of emerging artists, culture and city gentrification. Alongside this, I have built a longstanding career in corporate, taking on various roles, but always centered around product, from merchandising to sales.

I’m an eclectic “bee” who writes and consults on what we, as individuals, would like to see, need, and love in the future of art, culture, and cities. On a personal note, I have a love for mixing colors, vintage jewelry, and a good pair of shoes. Some friends joke that they check my shoes before they even say hi.

You’ve selected three works from Bisou, what drew you to each?

Maria Bodil, 'Homage 6'

This work projects an iconic, avant-garde, and chic aesthetic that feels timeless. The subtle blue undertone resonates with me as the color of hope and of nature, the sky, the sea, and the connections that bind us together. It also speaks to my indigenous Caribbean roots, where respect for people and nature forms the foundation of life. As a woman of color, I also recognize how blue often appears as the undertone of our skin in photographs. This connection made Maria Bodil’s work the natural starting point for co-curating the first Eyes of Gold exhibition, 'Kind of Blue'.

Yuro Moniz, 'Allover Flowervase M'

This piece brings me back to my Surinamese roots, where my mother always had ceramic objects and vases in the house. It carries a warm, soulful presence in my favorite color, navy blue, with delicate white artwork. It can live beautifully on its own as an object in a room, or equally with flowers. I can visualize it just as easily in a country house in the UK as in my apartment in Amsterdam. :)

Pascal Duval, 'Forty Elephants'

The layering details of this piece are impeccable. Pascal is known for his bold use of color, and here, the serene layer on top captures the underlying strength of the work. The depiction of women in dapper men’s styles from the 1800s reflects both strength and elegance. For me, it’s a reflection of life itself, where women must stand their ground, but always with style and grace.

Would you display these together, or would they live in different spaces?

The vase and 'Homage 6' could definitely be displayed together, not only because of their colors but also because of the harmony they create. At the same time, 'Forty Elephants' and the vase complement one another, each highlighting the elegance in the other.

For me, all three pieces are uplifting, they give off a sense of strength and femininity. They stand beautifully on their own, but also work powerfully together.

Is there a piece from this selection you'd love to ask the artist a question about?

Yes, I would love to ask Pascal about 'Forty Elephants'. I’m curious to know which colors he used before the layering, the specific techniques behind the piece, and what initially captured his interest in painting this moment of history.

In 'Forty Elephants' I began with colorful underpaintings, knowing these layers would only partially show through in the final work. I like that this creates depth beyond the surface, inviting the viewer to look more closely. The layering of different tones of white on top allows certain elements to come forward while others recede, giving the piece a softer, more tactile quality.

What first captured my interest was the story of the Forty Elephants themselves. While researching for my show 'Fools Gold', which explored how people chase illusions of wealth and value, I discovered a mugshot of 'Diamond Annie', the leader of this all-female London gang. Their resourcefulness, style, and daring shoplifting techniques fascinated me, and the story fit seamlessly with the themes I was exploring.

While painting I found out the story is also now a tv series called ‘A Thousand Blows’, I have not seen it yet.