ABOUT THE EXHIBITION
History
Top Trader is a fast-paced, bilingual board game (English and Spanish) where players become art collectors competing to build the most valuable collection. Through resource management, auctions, and clever trading, players explore art history from classics to contemporary masterpieces.
This project came from having created a prototype at university in 2020, where the game was not complete but definitely had a simple and fun gameplay. But it wasn't until 2022 in December that I decided to dedicate myself to this idea after losing my first job as a game artist in a mobile games company. That's where it starts, the idea of mixing and launching a product with my two great passions, art and board games.
Gameplay
The game starts with each player getting 3 cards, one face up, one face down and one cover card to hide your face down card, you also get 1000 millions, in face money (10 coin 100 each). A random player goes first, and turns follow in a clockwise direction.
During their turn, players can choose to put up for auction either the top card of the deck, one of the cards in their hand, or one of the cards from the Gallery. The auction is won by the last player who has not withdrawn and the card is kept by that player.
The payment for the auctioned card goes to the player who auctioned the card if it was from their hand or to the Gallery.
The game continues until a player gets a string of five consecutive numbers in their hand or have 3 cards from the same number and 2 more consecutive cards.
Game
Art
ABOUT THE ARTIST
Luisa Enciso Ulloa
I’m a visual artist and game designer from Colombia, currently living in Berlin.
My practice combines storytelling, art, and play to create experiences that invite reflection, connection, and joy. I believe games are powerful tools for collective imagination and political engagement.
I started working with traditional media: drawing, painting, sculpture, and installations, but over time, I realised that what moves me most is creating experiences. Experiences that people can step into, emotionally and physically. That’s what led me to game design: a medium that allows for deep experimentation, collaboration, and interaction.
I aim to create meaningful, playful, and accessible projects that spark conversation and bring people together. Whether it's through analog board games, art or video games, I’m interested in how systems can be used to tell stories, process complexity, and imagine alternatives.
I created Top Trader (2024), a board game that uses the world of art auctions to introduce players to art history in a strategic, fun way.
“Landscape was the primary influence on her subject matter.”
ARTWORKS
Some of her works
Here you will see some the most popular and stunning Julia Hawson artworks which will be present at the art exhibition on Jul 27, ar Moora Gallery, London.
Igneous, 2025
Oil pastel on black paper
Fire is alive. It breathes, it trembles, it changes. That’s why it moves us.
This exhibition was born from a fascination with fire as an elemental force — but also an emotional one.
It’s not only heat, nor only destruction. It is impulse, refuge, danger, and beginning.
As Bachelard wrote, fire is deeply human because it holds contradictions:
it soothes and devours, gives light and casts shadows, creates and consumes.
Igneous brings together works that do not aim to represent fire, but to let it speak.
Sparks, flames, embers — forms that burn to reveal the invisible,
moments that exist only because they are about to disappear.
The Impossible Feast, 2018
Crystallized installation
A table overtaken by salt. Each object — plate, spoon, glass — slowly transformed by time, preserved in a gesture of waiting.
What was once made to be consumed now resists all appetite.
It is a fossil of excess, of rituals interrupted.
This work reflects on the tension between desire and refusal, abundance and emptiness. It speaks quietly of disordered eating, of the weight of what we cannot digest — not just with the body, but with the soul. A feast that cannot be touched, only witnessed.
You Can’t Shake Off, 2017
"Sé lo que quieras ser," said Barbie’s slogan.
But what if that desire is already shaped?
What if what clings to our bodies isn’t freedom,
but a bright, polished model of perfection?
This installation invites us to confront that visual residue:
a floor covered in pink glitter that sticks to your shoes and leaves a trail.
A physical metaphor for how beauty standards seep into the everyday, take root in our desires, and follow us even when we try to walk away.
What sparkles isn’t always harmless.
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