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The Russian artist Katerina Belkina recently published the illustrated book “Katerina Belkina. My Work Is My Personal Theatre.” which includes almost all of her works of art. Through her pictures she wants to change the relationship between the genders in our society.

In your beautiful pictures you yourself are often the motive and you slip again and again into other roles. Which role do you like best and why?

It is always the current role that is in progress, because it is the newest one and it is a nice challenge to reach a higher level. I grow through my characters and try to be more and more open, not only to show aesthetically interesting sides of them, but also the background. I am who I am, my body is getting older (you know this stereotype about women who are over 40 years old, especially where I come from), but I think this is good and useful for my art! I can finally take on more serious roles and my body can now express twice as much.

“We all grow up with stereotypes about women”

Your illustrated book published on 15.10. is entitled “Katerina Belkina. My Work Is My Personal Theatre.” What will the reader expect? A stage-like staging of your own experiences or rather a “fictional play”?

This is a collection of almost all my artworks to date, together with texts in three languages. On the one hand I explain my most important conceptual thoughts, on the other hand there is a wonderful, lively interview and well-researched texts by art critics about my work. All this together shows how modern art can be and what different levels and meanings are hidden inside. I am grateful to my publisher Kocmoc for this opportunity and experience.

One of your picture series is called “Not a Man’s World”. Is this a political declaration of war with which you want to denounce gender justice in your country?

Yes, but not only in my country – worldwide. Women all over the world have just begun to change the gender balance in society and to change themselves. But this process is gaining momentum. It’s my oldest series (started in 2006), but I’ve really captured the beginning of this wave at this moment. As a basis I took various well-known fairy tale characters with all the stereotypes about women that exist – not only Russian ones, but also European ones and those that became popular through books and cartoons (Disney). We all grow up with them, and I personally carry our entire cultural heritage with me, but I have the feeling that when I read it or show it to my children, I have to clarify some points. The same goes for the viewer.

“I try to carefully change the balance between the sexes”

Do you see yourself as a feminist and if so, what does that mean for your art?

Yes, of course! I am a person who is very peaceful and who believes that through learning and artistic exchange of information we can gently change the balance between the sexes. This is exactly how I act in my artwork. I give the viewer an image that contains a code about what kind of private life or social problems, emotions and fears we all have. All of these things are not on the surface, but I hope that the images will make the viewer think and make important considerations. I am not a fan of encouraging and moralizing. I always try to take the focus off the gender of the characters. It is just one woman with all these feelings, but basically it could be anybody. I think the main message of my art is – “do not run away from yourself, be proud of your being, celebrate it, but not at the expense of others”.

When looking at your pictures, it is never quite clear which medium you are looking at – a photograph or a painting? How do you create this effect?

Normally I proceed in two steps: Photography and drawing. After the first step I have a break to choose the right photographic material and think about what is better for this work and how I can proceed. Drawing usually takes 3-4 weeks. So in this case I am not a big fan of speed. The work takes as much time as it needs. Of course I want to make every little detail perfect.  When I say “draw”, I mean everything I do: first combine, add some details, retouch and only then paint digitally. I use semi-transparent brushes in Photoshop, which I arrange myself and with which I work with the same technique as with oil paintings – I apply a few strokes layer by layer, forming the shadows, lights, highlights, but try to keep the basic image.

“We can be strong and active in our actions instead of passive, waiting and fearful”

Have you always known that you wanted to become an artist?

From my first breath – I come from a family of artists. In the broadest sense I was already born as an artist, and of course the mentality of my parents helped me a lot.

When and where can we see your paintings next in an exhibition in Germany? Or did Corona put a spoke in your wheel then?

This is a difficult topic for all freelancers and especially for artists. The galleries are all closed or do without opening events, so there are hardly any sales. All our plans have collapsed, and now it is clear that we can’t plan anything. I mean, you can plan, but it will be 99% different. I believe that one day we will solve this pandemic. But right now I prefer not to be paralyzed – I’m active on the internet and I don’t exclude the creation of art. The last half year has pushed us to jump into the online world faster. I blog on various social media platforms about my daily creative life. I make a few 5-minute videos about how I advance my latest project day by day and share it on Instagram and on Youtube. This is my way as an artist to hold my ground, to keep the audience interested in my art and to show other artists – we can be strong and active in our actions instead of passive, waiting and fearful.

Interview auf Deutsch lesen

Being an artist helps Jilles van Alen to overcome his shame and inner conflicts. Through his art the openly gay artist explores his own psyche and what it means to be human.

You are a member of the LGBTQ+ community and grew-up in a loving yet struggling household. Nevertheless you experienced shame, inner conflicts and obstacles as a result of your background. How did your art help you to overcome these feelings?

For me, part of making art is a form of self-acceptance. Making art is a reflection of my inner world. My hopes, fears, dreams, my struggles and conflicts. Most works, probably all of them, reflect psychological processes I’m going through. I believe everything we experience in our lives is a reflection of our inner-world especially the art we make. By sharing my art with the world, I’m sharing a part of myself which helps me heal and to overcome my shame and inner conflict. It’s like sharing your story or secrets with the world. By showing who you really are you become more accepting of yourself.

“I use art to explore my own psyche”

Now it is 2020. Luckily our society has become more woke and tolerant. But do you think being openly queer can still somehow be an disadvantage in the art market?

I’m not sure. I tend to think it’s more an advantage. Our community has a lot of struggles which brings us so much creativity. There’s so much talent in our community. I think the only disadvantage is that many of us are not believing enough in themselves. There is still so work to be done on that level.

You said, that through art you try to explore, what it means to be a human being. What message do you want to send to your audience?

Am I sending a message? That’s interesting. Maybe I am. I’m exploring what it means to be a human being. Everything I do in live reflects in my art and I involve the subconscious in my work. I’m a spiritual person and I’m a therapist and I study applied psychology at the moment. You can say I very much drawn to psychological processes and what drives humans. You can say by making art I’m exploring my own psyche and by expressing myself I’m healing parts of me. If there is a message in my work it would be saying “dive into your subconsciousness and explore. It knows all the answers and it knows how to heal you”.

“I feel a strong connection with the universe”

In one of your early artworks you edited old portrait photos and wiped out the faces with paint, so that you can neither indentify them anymore, nor see any gender. Can you describe, what these artworks are about?

That’s actually pretty old work. It’s a collage that exists of vintage photos and paintings from Antony Micallef. I’m pretty sure it reflects my chaotic mind in the moment I made this. It reflects a contrast of the orderly outside because of the neat clothes and the chaotic mind inside.

In many of your works of art you combine photography, drawings and found image into surreal, nearly spiritual collages. Would you describe yourself as an spiritual person?

I’m a spiritual person. I’m educated as a spiritual therapist and feel a strong connection with the universe. I feel we all are connected and everything is one. Everything is consciousness and we are here to expand that consciousness by learning and healing. It’s all mirrors and reflections. We are what we see. Everything is love but we are not always able to see that.

What are your plans for the future as an artist?

I want to learn more about making art. I want to keep evolving. At this moment I’m also very busy studying but that will not stop me from making new work. In the future I would like to combine digital with analogue work. I’m looking forward to having more time to make art because next to working with people it’s what I love doing most.

Interview auf Deutsch lesen

Maria Bang Espersen is a professional glassblower and has always been curious what could be done with glass. In this interview the Danish artist explains what fascinates her so much about glass as a material and why her art is politically motivated.

You have a background, that is very traditional for glassblowing. You studied glassblowing for three years and learned all the basics and techniques. When did you decide to move from traditional glassblowing to breaking all the rules you’ve learned and becoming an artist?

It happened when I changed schools. I had finished my 3 years at Kosta School of Glass where I had focused on technique only, to a design school on Bornholm with an emphasis on the outcome. I had promised myself, that on Bornholm, I would stay very open to what the school had to offer me in terms of a different approach to craft making. It was difficult in the beginning as I was struggling letting go of my perfectionism and fascination with technical glassblowing. But once I got there, once I understood what it meant to rediscover a material, there was no going back. I have always been curious about what glass could do, and I think this was a very natural development on my behalf. I always want to go a bit further and the excitement around discovery is very rewarding to me. This is probably also the reason why I have continued exploring other materials besides glass as well as my conceptual approach to artmaking.

„Glass is a material that is still partially undiscovered“

Why is glass such a fascinating material for you?

Firstly, glass is a fascinating and challenging material to work with in its molten state. I was drawn to its difficulty that allows for constant progress, technically wise. Secondly, it is a material that is still partially undiscovered. Unlike, for instance clay, it has only been part of a studio movement since the 60s. Before that, it was all factory production. This means that there is still so much to learn about it. It can still surprise us and reveal new sides to itself. An example is my project from 2012 titled Craftformation. Here I explode glass using compressed air which causes it to become super fine glass threads. Thirdly, it is a material that can hold many metaphors due to its transparency that is so unlike any other material, giving it much potential for artistic development.

I found a very inspiring quote on your Website: “Transparency is such a mess – it means both; that you look right through it and that something is clear. Please don’t look through it. Welcome to the present.” (2017) Do you see glass as a symbol for our modern lives? If yes, why?

I do not see glass as a metaphor for modern lives, but I consider it having the potential to do so. In addition, I find it fascinating that transparency and clarity are words that are being used metaphorically in contradicting ways; To see things clearly means to know something, but simultaneously transparency means invisible and therefor it becomes something that is not seen or known. I use that conceptual framework in some of my work.

„For me art has become a political tool with so much potential“

Many of your sculptures have political messages. For example in the project “National Costume” you describe many questionable political descisions of the danish government concerning refugees. Is your art often inspired by political events? 

It is. I find it important to engage with what is happening culturally as well as politically. For a while Danish politics have been heading in the wrong direction and therefore I simply cannot help but engage in that conversation.

National Costume

The Danish government’s mistreatment of in particularly foreigners, including refugees, just seem cruel to me. It is a conversation we should never forget and one that needs to be addressed constantly. Just because I am an artist, it doesn’t mean that I cannot act. For me art has become a political tool with so much potential.

Do you see yourself as a political artist?

I do. I even consider the less obvious glass works to be political. They are political in another way than for instance National Costume, but I do not believe that any action stand completely outside of politics. Everything we do is in conversation with the world that it exists in. My abstract glass sculptures are political in a soft way; they challenge conventions and traditional ideas about what glass is and can do, simply by being an alternative. They seek to push our boundaries and open our eyes to the possibility that things can always be different. My works seem to say “there is always another possibility” and that very much fits into a larger political discussion around norms and traditions.

Soon your work will be exhibited in the Victoria and Albert Museum London, one of the worlds leading art museums. How does that make you feel?

According to a friend of mine who went there recently, it is already on show at the V&A. This acquisition makes me overly excited and I feel honored that the museum decided to purchase two pieces from the Soft Series. It is thrilling to know that they will continue to be part of that collection and available for generations to come. Receiving acknowledgement on this level is stunning to me and I very much appreciate it.

From the 14th to the 17th of november 2019 your work will be shown at the Affordable Art Fair in Hamburg. How important are art fairs for you as an artist?

Art Fairs are important because of the large number of visitors and because to the “unexpected” visitor. Individual galleries often carry their own crowd, but at an art fair, the group of people you are reaching is expanded. I always enjoy sharing my work with new audiences as well as the potential for finding new buyers and admirers.

„Never think that your work isn’t good enough“

What do you think is the most important skill to become a famous artist, except creating wonderful and inspiring works of art? 

I do not know if I am the right person to answer this question, but I will make a few comments on what I have found important throughout the years of making glass sculptures.

An artist really has to be good at many things, not only making. Among other things, this is often difficult. In the beginning I was applying to any possible thing I could find. This takes a really long times because of the requirements from the various open calls, but it seems to be necessary in order to get your work shown in the beginning. In addition to that, it is important to have good photographs of the work and often it is useful to have some writing and networking skills. The most important advice, I can give to others is to continue to believe in yourself and not to let anything hold you back. Never think that your work isn’t good enough, but just apply to all. You never know when you are suddenly awarded that residency or prize that you had never thought would be possible.

Interview auf Deutsch lesen

Albin Talik creates beautiful artworks by cutting paper

Your paintings own a very distinctive and fascinating look. How do you do that? Could you descripe how you work?

Thank You. First of all my „paintings” are made of paper. I call them paintings but they are simply collages. I just cut paper. I know it sounds silly but it’s the truth. I work usually like this: I draw something I like, depends on topic of course. Sometimes I use ideas from my head (my series Pyramids and Ruminations) and sometimes I use photos. When the drawing is finished I begin to fill the background. I love this part. I try to make the transition from dark to light. Background really affects the atmosphere of the picture and then I choose other colors. I have sorted colors, hundreds of bags with different pages. Then I fill the rest of the image. I intend to stick to the rules as in the real painting. I’m trying to forge a stroke of the brush. I put a lot of attention on light.

“I try to create my own unconventional planet”

What does this fragmentary and tattered aspect of your painting-style mean to you?

It’s just my world. I try to create my own unconventional planet. My style is time-consuming. It’s a slow process but somehow magical. I can called it a therapy for my soul. So it means a lot.

The characters of your Paintings often wear masks. Is there a reason why?

Yes. I think we all wear a mask. Maybe with the exception of children. In our lives we have many limitations and we can not always be 100% ourselves. Situations force us to wear a mask. How many times in your life did you do something against yourself? In my paintings, mainly in the Ruminations series, the heroes wear masks. They are a symbol of thought. Mostly bad and stressful. If you get close to them, you’ll see the dynamics in them. This is a rush of thought. I try to answer the question: What does it mean to be yourself? When do we really feel our interior? Sometimes I feel I have no control over my body and mind. This causes anxiety. Both rumination and worry are associated with anxiety and other negative emotional states. But do not get me wrong. My images do not carry a negative message. There is always a way out of a difficult situation. I believe it.

Albin Talik: “I strive for excellence but I think it is unattainable”

Primary you wanted to become a rockstar. Why did you switch to visual arts?

I started my adventure with painting because I thought it would enrich my soul. And that is my approach to music. And that’s what happened. I never felt good musician and never felt good painter. I strive for excellence but I think it is unattainable. You know painting is a lonely process. At least for me. You are your own boss. You spend many hours alone in the studio. You transfer your thoughts, your imagination, and other things to your canvas. But you do it in solitude. The funny thing is that after 7 years of adventure with painting I returned to playing music. Being in a band is something completely different. You spend more time with people. For me it’s something new and interesting. I know that sounds weird but it is. Back to playing music is a wonderful thing. I am just in the process of recording a CD. My band is called Call of Cuckoo.

Do you listen to music while painting, and if yes, what kind of music? Does it affect your paintings?

Of course. Music is part of these images. I do not have a favorite genre of music, but I like very sad songs. My favorite band is probably City and Color from Canada. There is something magic in this band. I think music has a huge impact on visual arts. They are connected.

Besides people and figures your painting also show cities and streets of houses. Does your homeland poland inspire you? And what relation do you have with poland?

You know, I live in a beautiful place. This is the very center of the city, but it has some magical atmosphere, tourists are not peeking here, it is peaceful. I go in pajamas to buy morning rolls, to the bakery.Very often I walk around my neighborhood with the camera. I look at different places, I go to the roofs. Some time ago I started to do landscapes because I wanted to show this magical place. I see the world in color and I want to give it back in my paintings. My country inspires me as much as possible. The city in which I live, Krakow, is an artistic city. This place lived and created artists such as Matejko, Kantor, Wyspianski, Weiss, Mehoffer … You can feel the spirit.