24121 Special Issue not just in the studio. It is a constant for me to be engaged in my practice whether researching and finding inspiration or creatively producing, it’s all part of the same thing. Your practice examines and reinvents the beauty within objects that have been discarded, lost or are defunct and are re-found. We really appreciate the way your choice of materials provide your works with metaphorical aspects, eliciting response in the spectatorship: New York City based photographer and sculptor Zoe Leonard once stated, "the objects that we leave behind hold the marks and the sign of our use: like archeological findings, they reveal so much about us". We’d love to ask you about the qualities of the materials that you include — or that you plan to include — in your artworks: in particular, how important is for you to use materials rich of metaphorical properties in order to create such allegorical images, as Together Forever? Catriona Faulkner: I have always collected, everything. As a child I had shelves full of bits and pieces, objects I was fascinated by.it is the same today, my house and studio are a treasure trove of collections, oddities and inspiration. It just seems to be in me to be drawn to objects for various reasons, sometimes not even knowing why I need, want or am captivated by something, it could be a rusty old horse shoe, a bird skull or broken car bolt. I’m drawn to objects that have had a previous life that have been used or are broken, it’s the DNA and marks of life that fascinate me old, used, broken, damaged are all qualities that add to the intrigue and fascination as well as the patina. Reinventing objects and finding something beautiful in them rather than an original purpose enables my fascination to be fed and surprised. I want my work to initiate a response in the viewer beyond the subjectivity in however the viewer wishes to interpret the use of metaphors and symbols. Objects can be so emotive that people often find their own meaning in my work. I use and select objects that are rich in metaphorical properties that enable me to explore and weave narratives throughout my work. I have used imagery as well as objects metaphorically to investigate aspects of pain, devotion and ceremony and continue to do so with my new body of work using medical equipment and medication, a more obvious use of symbolism through objects. Metaphorical properties in objects allows me to create works that become allegorical in their completion. Things I collect and find are often used symbolically in their interpretation often confirmed or questioned by their placement and configuration in an artwork. With their unique visual identity and their richness of details, your artworks Catriona Faulkner ART Habens
Special Issue 2413 challenges the viewers' perceptual parameters: we daresay that your artistic practice seems to aim to look inside of what appear to be seen, rather than its surface, providing the spectatorship with freedom to realize their own perception: how important is for you to trigger the viewers' imagination in order to address them to elaborate personal interpretations? In particular, how open would you like your works to be understood? Catriona Faulkner: My work has its own visual identity that is a culmination of my rich mixing pot of inspiration and all the things that make me, me. My practice aims to intrigue the viewer with my reoccurring obsessions and fascination of objects and their reinvention, using complex compositions to reinterpret familiar items. I’m interested by the perceptual parameters our minds can set and the way we subconsciously expect to view something in an explainable manner. Challenging these parameters we often don’t realise are in us, can surprise and challenge. Objects used in unexpected configurations and arrangements confront the viewers preconceived framework. The DNA and grime of an object is an aspect I’m drawn to but beyond the surface is a natural expectation and familiarity of an object we recognise whether in its familiar form or metaphorical or symbolic use we look for an understanding that we know or perceive to know. Sometimes a viewer connects with a part of the visual aesthetic of my work, identifying aspects they personally culturally or religiously relate to, triggering their own memories or interpretations. Homage contains objects I have had since childhood,love tokens, family heirlooms and all kinds of things I have ART Habens Catriona Faulkner
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24161 Special Issue collected and found on my travels. This piece is a homage to my memories and passions, life, family and journey so far. So many memories linked to these objects it’s a piece that’s unable to be unravelled by anyone apart from me. It’s perfectly fine for the viewer to find their own interpretation and meaning in my work, this is fascinating to me how different people view /see/translate my work and hopefully encourage the freedom of the viewer to realise their own perception. However I do find through conversations with my clients they often ask me to elaborate on my personal narratives and metaphors, this can enable a deeper connection that may resonate with them. I would encourage personal interpretation and freedom to find own meaning in my work and am happy for my work to find different meanings in each viewer. As long as my work sparks imagination and creates discussion, I’m happy. In 2020 I have begun to release a new body of work that is more personal and obvious in symbolism, this work relates to my chronic pain condition and feels very personal. I had a tentative apprehension of showing this work as putting it out there felt very exposing and laid bare. This piece Spoonful of Sugar is part of this series and reflects the constant rounds of medication I take. This piece has been received positively and re interpreted so individually I’m pleased that my connection to it personally has become “an” interpretation not the only interpretation. You draw inspiration from religious reliquaries, shrines and ceremonies constantly referring to themes of human ritual, remembrance and devotion, and as you have remarked in your artist's statement, you want your work to reflect the opulence of ancient relics, embellished and decorated objects/shrines that have been worshipped and revered as holy or ceremonial. How do you consider the relationship between cultural heritage from traditional aesthetics and contemporary sensitiveness? In particular, how does your artistic research reveals a point of convergence between Tradition and Contemporariness? Catriona Faulkner: I have always been interested in anthropology and cultures around the world, how people live, reuse, reinvent and the creativity that is embedded in all communities through tradition whether ceremonial or decorative. An aspect of my inspiration is fed by a fascination of religious reliquaries from across the faiths and belief systems, their opulence and history whether an ancient gold locket or a temple are reflected in my inspiration and shrine like work as devotion. I’m fascinated by acts of ceremony and ritual that humans carry out such as leaving Catriona Faulkner ART Habens
Special Issue 24173 flowers by the side of the road or carrying a lucky charm, these are all individual humanistic attributes we acknowledge or take part in some how. How and why we memorialise throughout cultures and religions using objects, food, statues, flower’s or perhaps a talisman as offerings is a constant source of inspiration to me. Aspects of my practice are obsessed with the beautiful and skillful execution of my work through the use of traditional and cultural techniques and methodologies. I use approaches that I have developed, fused and adapted acknowledging the traditions that were and are generally practised by women in new contemporary configurations. My practice is a convergence of many avenues that inspire and drive me, yes a mix of traditional methods and inspirations as well as all the ingredients that are embedded within me as an artist. I don’t consider the contemporariness of my work or how it fits in the whole scheme of things, it’s just what I need to do. We have appreciated the way you combine reminders to reality — as anthropomorphic shapes in She's Bionic. Scottish visual artist Peter Doig once remarked that even the most realistic works of artare derived more from within the head than from what's out there in front of us: how do you consider the relationship between reality and imagination, playing within your artistic production? Catriona Faulkner: Reality and imagination is a blurry line for me and my mind definitely wanders between both realms. It’s not a contrived place, it’s just my place, the way it all works for me and comes out of me. I have always had “my zone” to retreat to and explore my imagination, it’s always been part of me and is a place I treasure. Throughout my art education my imagination has always been commented on or highlighted, it’s only as Ive got older I realise not everyone has the constant vivid imagery in their minds that I presumed everyone had. I seek visual stimulation and feed my imagination constantly. Apart from the obsessive collecting, I use a sketchbook to process my thoughts, it’s a good place to get things out, ideas that roll around in my mind can be worked through and explored. “She’s Bionic” is a piece from the new body of work that is using more anthropomorphic shapes as does the piece “Feeling Lucky ?” Here I have used these objects of a hand and spine to convey the visual reality of these aspects of my health. Yes my hand looked like this and my spine has a wire stitched to it and these are interpretations of the images in my head, however they seem visually ART Habens Catriona Faulkner
24201 Special Issue revealing and feel realistically obvious to me, but I have found the viewers interpretations of the works doesn't necessarily focus on my specific representation but a broader interpretation of the whole piece or perhaps have a specific connection to the elements I have used. As you have remarked once, you consider your work as ongoing therapy: a place where you can immerse herself in your creative zone: how does your everyday life's experience fuel your artistic research? Catriona Faulkner: My creative zone is my space where I can immerse myself in a place where it all makes sense and allows me to get it all out creatively. Yes it’s an ongoing therapy,I understand that now and utilise it every minute I can. I would describe it as “a calm zone of pure creative and imaginative meanderings” that are explored and analysed through my practice. Everyday my creativity is fuelled whether it’s finding a rusty bolt, discussing daily life or historical events, sketching ideas or visiting a cemetery, it all fuels the library in my mind. I realise I'm very lucky to find constant creative motivation as not everyone is as fortunate. I think my brain is wired so intricately, probably more so from the offshoot of living with a chronic illness, that it never quietens, day or night it is fulled with questions, ideas, interest, distractions, distractions and more distractions. My studio space is a sacred sanctuary and very precious to me, it keeps my well-being and creativity in balance. Thankfully I have a very patient wife who understands me. You are an established artist and you have been exhibiting for over ten years in various galleries, exhibitions and group shows including the V&A Museum of Childhood, London Design Week, Guild of Designer Craftsmen and London Fashion Week: how do you consider the participatory nature of your relationship with your audience? Direct relationship with the audience in a physical is definetely the most important one, in order to snatch the spirit of a work of Art. However, as the move of Art from traditional gallery spaces, to street and especially to the online realm - as Instagram, https://www.instagram.com/ catrionafaulkner - increases: how would in your opinion change the relationship with a globalised audience? Catriona Faulkner: I have seen my client base and profile shift slightly with exposure on social media platforms. Primarily my work has always captivated an audiences imagination and attention in real life form. My work is notoriously difficult to photograph and even harder to convey its sense of Catriona Faulkner ART Habens
Summer 2015 2413 spirit and illuminous richness through a digital image. There are obviously good and bad aspects in the broader sense of the use of social media but as an artist it does open you up to a globalised audience who may never discover you otherwise. People from around the world communicate with me about my work in an instant and a conversation has begun. Used in the right way it can be a useful tool and create communities of like minded people, as with everything in our world shifting to an online presence. I think we need to combine physical established ways with the new online platforms, no disregarding traditional gallery experiences for online platforms but embrace and facilitate both, whilst continuing to take the time to seek and uphold communication with your audience, thus creating a dialogue face to face or virtually. We have really appreciated the originality of your artistic production and before leaving this stimulating conversation we would like to thank you for chatting with us and for sharing your thoughts, Catriona. What projects are you currently working on, and what are some of the ideas that you hope to explore in the future? Catriona Faulkner: My endless research, collecting and documenting ideas let alone my piles of sketchbooks could keep me in constant production forever if I allowed them all to take form. I’m always exploring new possibilities and adventures within my work and continue to push my practice forward. 2020 is the year where I am exploring my health with a more focused approach through my practice. I’m using larger symbolic and metaphorical objects to not only explore but celebrate aspects of this ongoing journey. I won an award from Shape Arts Open in 2019 which was selected by a panel including artist and patron Yinka Shonibare. It was the first piece of work specifically regarding my health that I had ever shown in public, fuelling my confidence to analyse unfold and explore further, coincidentally in the 20th year anniversary of my accident. I have decided to produce a collection of 12 pieces of work, one for each month relating to my current health and reflecting upon the journey so far and what may emerge or resonate with the month I am working on. I’m excited to explore this new approach and seek new metaphors and symbols, the possibilities are endless! Special Issue ART Habens Catriona Faulkner An interview by , curator and curator Photos by Helen Excell
Special Issue 4012 Detail from Ultramarine Lives and works in London, United Kingdom
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Christian Hiadzi Hello Christian and welcome to ART Habens. Before starting to elaborate about your artistic production we would like to invite our readers to visit http://www.studiohiadzi.co.uk and we would start this interview with a couple of questions about your background. You have a solid formal training in Architecture and after having earned your BSc (Hons) from the University of East London, you nurtured your education with a Postgraduate Diploma and further studies at the Kingston University: how did those formative years and your cultural substratum influence your evolution as an artist? Moreover, are there any experiences that did particularly help you to develop your attitude to experiment with different techniques? Christian Hiadzi: Growing up in Ghana where I was born and spent part of my formative years before moving to London, one is constantly surrounded by vibrant colours and texture, two of the many attributes that run like a thread in my body of work. I started making art when I was as little as eight years old, drawing, painting and sculpting, and this continued throughout my architectural education. Art and architecture as we all know are both creative and intertwined, with the latter being more structured and greatly influenced by regulations and cost. My art on the other hand gives me the freedom to be more expressive of my feelings and the world around me. The two together, the structured and the non structured, are like the yin and 404 Special Issue An interview by , curator and curator yang that help create a balance in my life. Your artistic production combines personal aesthetics with such a unique conceptual approach, and the visual language that marks out your artworks seems to be used in a strategic way to counter-balance subjectivity and offers an array of meanings. The body of works that we have selected for this special edition of ART Habens —and that our readers have already started to get to know in the introductory pages of this article — has at once captured our attention for the way you explored the connection between human experience and imagination: when walking our readers through your
Special Issue 24053 usual setup and process, would you tell us how do you develop your initial ideas? Christian Hiadzi: Each painting begins as an idea, this could be a person I know or may have interacted with, a found image or it could also just be an imaginary person in my subconscious mind. The interesting thing here is that, the moment the paint hits the canvas, I am no longer in control of what happens. One of them ART Habens Christian Hiadzi
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24081 Special Issue The intension is never to paint the obvious, but explore emotions through the play of color. I describe it like a journey, although I have no idea how to get there. The fuel or the driver for this journey is emotions and imagination. We have really appreciated the vibrancy of vivacious and at the same time thoughtful nuances that mark out some of your artworks, and we like the way they create tension and sense of dynamism: how did you come about settling on your color palette? And how does your own psychological makeup determine the nuances of tones that you decide to include in your artworks? Christian Hiadzi: My paintings are very much process led, and the decisions as to what colour to use at what stage of the painting process is pretty much spontaneous and instinctive. A lot of the process is layering, you don’t quite know what you are going to end up with. The colours speak to themselves and to me, and eventually the synergy between us, somehow produces this emotional response which becomes the painting. I am inspired by the human conditions and qualities that we experience day in day out. I can relate to all the emotions that we all experience as humans, but for some reason, there ones that inspire me the most to capture are mystery, tension, fear, pain, decadence and death. I find something rather deep and profound in these emotions. A deeper level of connection, sometimes disturbingly calming almost. The mysterious and darkened eyes, the layers upon layers of paint, working and reworking surfaces, adding and subtracting, the scares, the textures, are all metaphorical pointers to these emotions that I try to capture. Your artistic production shows a successful attempt to elaborate upon unfamiliar aspects of an otherwise familiar scene, and we have really appreciated the way your artworks embody an interface between realism and imagination, as well as the way you include elements from ordinary experience, unveiling the point of convergence between the figurative and the abstract form. Scottish painter Peter Doig once remarked that even the most realistic paintings are derived more from within the head than from what's out there in front of us: how do you consider the relationship between reality and imagination playing within your work? And how does everyday life's experience fuel your artistic research? Christian Hiadzi: The emotions I aspire to draw out from my work are real, but it is the execution and finished works that requires some imagination from the audience to be able to create a dialogue with my work. For me, painting these figures in a realistic style, kills the work. The mystery, tension, omission of the archetypal from my work, allows room for imagination to prevail. I think the second part of this question is the same as the second part of the previous question. In that, the human conditions and emotions that I had mentioned previously, which I also experience as a human, are the inspirations that fuel my artistic research. As you have remarked in your artist's Christian Hiadzi ART Habens
ART Habens Christian Hiadzi Special Issue 24093 statement, your aim is to demonstrate against the status quo of society, my rejection of mundanity and rebellion against archetypes within a contemporary world. Mexican artist Gabriel Orozco once stated, "the artist’s role differs depending on which part of the world you’re in. It depends on the political system you’re living under": ? Does your artistic research respond to a particular cultural Lady X
ART Habens 24101 Special Issue moment? Moreover, what could be in your opinion the role of artists in our contemporary age? Christian Hiadzi: I wouldn’t say my artistic research responds to any particular cultural moment. But I think some of the emotions Christian Hiadzi Pursuit of extreme decadence_010
Special Issue 24113 that I try to capture in my work are particularly heightened and poignant in today’s polarised and ever conflicting world we live in. They transcend race, culture, Origins_02 ART Habens Christian Hiadzi
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24141 Special Issue gender and all socio economic backgrounds. My hope is that the audience or viewer would be encouraged to reflect on their own journey. I think artists have the responsibility to produce work that inspire people and enable interaction of people of all walks of life. They should also challenge the status quo, push boundaries, provide thoughtful critique on socio-economic and political systems. In so doing, it is the responsibility of artists and art institutions to demystify the art world andmake art accessible to all. With their unique multilayered visual quality, your artworks stimulate and expand the viewers' imagination beyond the obvious, encouraging your audience to draw out and observe the beauty of the unfamiliar caught within the ordinary. In a certain sense, we dare say that your artworks seem to invite the viewers to look inside of what appear to be seen, rather than its surface, providing the spectatorship with freedom to realize their own perception. Austrian Art historian Ernst Gombrich once remarked the importance of providing a space for the viewers to project Christian Hiadzi ART Habens The Candidate
Special Issue 24153 onto, so that they can actively participate in the creation of the illusion: how important is for you to trigger the viewers' imagination in order to address them to elaborate personal interpretations? In particular, how open would you like your works to be understood? Christian Hiadzi: This is at the core of my practice in that, my aim is to create work that is a means to an end, not an end in it itself. Art that is thought provoking, challenging and reflective. ART Habens Christian Hiadzi Untitled
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24181 Special Issue My pieces are meant to be the catalyst, challenging the viewer to use their imagination beyond the obvious, thereby as you mentioned, actively participate in the creation of the illusion. In effect, I see myself as part of the vehicle through which this can be achieved. I merely provide the raw material, leaving the viewer or audience enough room to expand upon that, forming their own understanding of the works. New York City based artist Lydia Dona once stated that in order to make art today one has to reevaluate the conceptual language behind the mechanism of art making itself: do you create your works gesturally, instinctively? Or do you methodically transpose geometric schemes? In particular, how do you consider the role of chance and improvisation playing within your creative process? Christian Hiadzi: I think it is the combination of all the above technics, without much involvement of geometric schemes. It is very much a process lead approach in that I have no idea what the finished painting is going to look like until it’s finished. Paint does not always do what you want it to do, hence you can only guide the process, and in so doing textures, intensities and emotions are revealed through what I call accidents. These accidents together make the painting. How do you consider the participatory nature of your relationship with your audience? Direct relationship with the audience in a physical is definitely the most important one, in order to snatch the spirit of a work of Art. However, as the move of Art from traditional gallery spaces, to street and especially to the online realm, as Instagram (@christianhiadzi_art) increases: how would in your opinion change the relationship with a globalised audience? Christian Hiadzi: Audience participation is very important, and you are absolutely right in that seeing a painting or a work of art in reality is never the same as seeing it online. Also for me, there’s a great deal of pleasure to be derived from taking part in an exhibition and talking to the audience about your art, and also eaves dropping on people critiquing your work without them necessarily knowing you are the artist. However, there are very few galleries to support all the amazing artists out there. Also we all live in different parts of the world, but want to know of and enjoy the works of artists afar. The internet helps to facilitate this and I think we should all embrace it. We have really appreciated the originality of your artistic production and before leaving this stimulating conversation we would like to thank you for chatting with us and for sharing your thoughts, Christian. What projects are you currently working on, and what are some of the ideas that you hope to explore in the future? Christian Hiadzi: Thank you. It has been a pleasure. At the moment, I am still exploring the human condition through portraiture. This is such a huge subject matter and could take a whole life time. I am hoping to further expand this field into working on large Christian Hiadzi ART Habens
surfaces and create multi layered compositional works. I am still exploring ideas, directions…. Please watch this space. Special Issue 24193 ART Habens Christian Hiadzi Head
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Bianca Caston Lives and works in Vallejo, Ca, USA
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Bianca Caston Hello Bianca and welcome to ART Habens. Before starting to elaborate about your artistic production we would start this interview with a couple of questions about your background: are there any experiences that did particularly influence your evolution as an artist? In particular, what did direct you to become an artist? Well, I've been in love with art for as long as I can remember. Some of my favorite field trips in my primary years were art galleries and museums. I would constantly tell myself within that I'd create something to grace gallery walls one day. As I got older my main artistic interest was ceramics, I have an uncle who is a potter and his work has always inspired me. I don't think I could ever forget the sensation I felt the first time I learned to throw, something about being centered intrigued me. It was very easy to be in love with art as a child because life hadn't gotten in the way yet. I believe it was Picasso that said " every child is an artist. The problem is how to remain an artist once he grows up." Fast forward a few years, I became overwhelmed with trying to chase the American dream. After all my forced plans fell through I realized all I really wanted was a peaceful life and that's when art entered back in. I started doing more arts and crafts with the children at my mothers daycare. Watching them get so excited as I pulled out all the supplies 404 Special Issue An interview by , curator and curator reminded me of my excitement about art. I started to experiment with paint pouring, a technique that create cells. The shapes that would surface from the pours inspired some of the shapes in my layered works. I got an extra push to emerge as an artist from several family and friends. The biggest direction I received was from
ART Habens Bianca Caston Special Issue 24073 my own passion, many nights went by that I couldn't sleep until I created something. The body of works that we have selected for this special edition of ART Habens and that our readers have already started to get to know in the introductory pages of this
ART Habens 24081 Special Issue article has at once captured our attention of your works is the way you sapiently combined geometric patterns and abstract sensitiveness that provide the viewers with such multilayered visual experience: when walking our readers through your usual Bianca Caston
Special Issue 24093 setup and process, would you tell us how do you develop your initial ideas? Currently I don't have a studio , so my setup is usually on the floor of my cottage and quite frankly, sometimes my bed. I start out figuring what shape I want the outer edge to be and how many layers will be within each piece. Although the title is important to the message i try to convey, i usually don't title them until the piece is done. ART Habens Bianca Caston
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24141 Special Issue after I decide on the main shape I ponder on color scheme. I use a soldering iron to burn the shapes into each layer. We would like to ask you something about your daily routine. New York City based artist Lydia Dona once stated that in order to make art today one has to reevaluate the conceptual language behind the mechanism of art making itself: do you create your works gesturally, instinctively? Or do you Bianca Caston ART Habens
Special Issue 24153 methodically transpose geometric schemes? In particular, how do you consider the role of chance and improvisation playing within your creative process? As stated above I usually start with the shape I want the outer layer to be. I do feel that my works are mostly created instinctively despite starting with such a definite shape. I believe the unconscious thought of creating random shapes aid with ART Habens Bianca Caston
24161 Special Issue Bianca Caston ART Habens allowing viewers to get lost within the layers. Improvisation isn't a key component in my layered works because they are already pretty whimsical and free spirited, there aren't any rules that the shapes are trying to measure up to so theres no room for trying to work their way back to a standard. However chance plays a big role once the layers come together because its important
for the viewer to see through to the bottom layer of each piece, the shapes have to make room for each other in that sense. Some of your pieces are titled after people names: how do you go about naming your work ? In particular, is it important for you to expressly tell something that might walk the viewers through their visual experience? I title some of my layered pieces after people names because I feel people have a depth to them that you can't experience upon first encounter but over time you learn their uniqueness. I also believe that names have strong meanings, for example the piece titled Janell means jehovah has been gracious. I wanted this piece to be round. Circles have strong symbolism some believe they symbolize wholeness. Janell is a personal piece for me, my middle name is Janell and I know that my journey with Jehovah and art has given me a sense of feeling whole. along with that I aim to be a well rounded artist. It’s important for me to know that my viewers are able to see the foundation upon which the layers rest on because all of the foundations are solid. Without a solid foundation peace is impossible. As you have remarked in your artist's statement, your goal is that while someone is viewing your work and focusing on the details, diving deeper into the piece, they get a sense of peace. In this sense, your approach to art making seems to stimulate the viewer’s psyche and consequently works on both a subconscious and a conscious level. How do you consider the nature of your relationship with your audience? Is there a particular way of engagement that you seek to encourage? Yes, this is quite tricky since the viewer isn't suddenly aware that while focusing on the piece they aren't thinking about their worries. I can only hope that my work and 24141 Special Issue Bianca Caston ART Habens
Special Issue 24173 ART Habens Bianca Caston artist statement may spark conversation within the audience. I may start to incorporate words within the layers that will ask thought provoking questions but for now my pieces will remain silent. We have really appreciated the tactile feature of your artworks, that are carefully detailed and are marked out with such sense of dynamics and sapient choice of tones: how did you come about settling on your color palette? And how does your own psychological make-up determine the nuances of tones that you decide to include in your works in order to provide the viewers with such immersive visual experience? Thank you, in high school I grew a deep appreciation for the color wheel, that has really helped me with choosing my color palette for each piece. color meaning also plays a role. for example in my piece Sadie, I chose a yellowish gold. This color was chosen for its brightness and warm happy tone. While I was in high school I had a teacher , named Sadie who was a bright spot of my day so I wanted that piece to be warm and bright just like how I felt in Sadie's class. The backgrounds are usually always white. The reason for that is to give each piece a minimalistic clean and crisp vibe. With their unique multilayered visual quality, your artworks seem to invite the viewers to look inside of what appear to be seen, rather than its surface, providing the spectatorship with freedom to realize their own perception. Austrian Art historian Ernst Gombrich once remarked the importance of providing a space for the viewers to project onto, so that they can actively participate in the creation of the illusion: how important is for you to trigger the viewers' imagination in order to address them to elaborate personal interpretations? In particular, how open would you like your works to be understood? Triggering the viewers imagination is very important. Personally I love being able to participate in art that I see by forming my own interpretations it helps you to connect with the art. I believe connecting to each piece is a necessity. That being said I wouldn't want my art to be openly understood. I'd like it to provoke wonder and curiosity. Your works convey such stimulating abstract feeling, whose background creates such an oniric atmosphere: how do you consider the relationship between the real and the imagined playing within your artistic practice? I include both. I connect what's real, my experiences and interpret them with fanciful shapes. By the way, as the move of Art from traditional gallery spaces, to street and especially to online platforms — as Instagram — increases, how would in your opinion change the relationship with a globalised audience? I think the move is great! more eyes looking at art means more discussions are being had. I know for me being able to see works from different areas of the world gives me ideas and inspiration for future projects. Readers can check out my Instagram at https://www.instagram.com/lenajarts. I post about things I'm currently working on and process video clips.
Special Issue 4012 Lives and works in Berlin, Germany Trellick Tower, Pen on Paper, 28x36cm, 2017