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Žaneta Jasaitytė
立陶宛艺术家赞娜妲·贾赛泰特

要做什么。我会一口气设计完成一个作品集。短
时间内实现目标会让我疲惫不堪。对我来说最重
要的是过程，因为一旦创作完成，你就不知道接
下来会发生什么。但在创作过程中，你会有一种
自己正向前飞的感觉。那种感觉就像曾经吃的苹
果，非常美味、香甜、多汁……

当你停下来思考，评估自己的工作时，你一定会
觉得还可以做的更好，因为完美是无极限的。有
时候，你会觉得，某些图片原本不应该展出，而
有一些则应该多展出几次。有时，会遇到这样的
问题：总觉得不满意，希望做的更完美。毕竟，
想法的实现需要一个过程，而这往往并不是一个
能够轻松完成的任务。

除了绘画，你还做插图，在你看来，二者有什么
不同？

面向公众和自我的情感表达与和谐，对我来说非
常重要。我前面提到过，我注重统过视觉作品来
采访：伊曼纽尔·巴博萨 表达情感。要回答你的这个问题，我要谈谈我的
图片：赞娜妲·贾赛泰特 两个特色，第一个特色是作品表达方式情感色彩
我们非常荣幸能够采访到波罗的海最风趣、最具 张张图片，被做成了灯笼，出现在了动画片中， 强烈、有说服力，注重平衡和平衡。你可以称之
潜力的艺术家赞娜妲· 贾赛泰特。她创造了一种 其灵感来源于生活。蕴含思维和哲理的绘画与图 为男子气概，这在我的插图作品和绘画作品中都
独特的视觉语言，可以很轻松地应用到不同的媒 片交替出现，表达着难以言说的情感。 得以窥见。第二个特色是作品有爱冒险的因素，
介上。油画、素描、模板印刷、雕刻、刺绣、插 追求闲适，充满乐趣，而且易于理解。你可以称
图、时装设计甚至是摄影，都可以让她充分发挥 插图中的文字也会对第二天的开始产生一定影 之为质朴。插图更易于表达第二个特色。也许这
创造力，她的创作采访令人感到惊奇和着迷。 响，真诚的欢迎词，一段小故事……我曾一度想 是儿时游戏的一种特殊表达。我也无法定义清
学习透视画法。也许那就是我努力拥抱生活，视 楚，也许等到我在一个领域中同时表现出这两个
请给我们介绍一下你的职业发展历程。 生活如游乐场和舞台的原因。娱乐非常重要。如 特色，就可以弄明白了。但是现在，对我来说，
果娱乐可以成为你的工作，那么工作就会给你的 分开表达更容易一些。
自打我出生可以握笔开始，我就再也没有放下 生活带来快乐。我很高兴自己能够在工作中获得
过。小时候，我喜欢把自己幻想的东西画出来， 快乐。 在英国和立陶宛你曾展出过一些时尚服装，为什
很多大人都没办法理解。对我来说，画画是一个 么是时尚服装呢？
非常有趣的游戏，已经融进我的血液中了。不画 在为了最后的成果而努力时，即使很累，心里也
画的话，我觉得自己没法活下去。艺术已经成为 会感到高兴。对我来说重要的是将情感和表达形 每个女人都希望自己是唯一的、与众不同的。我
我生命的一部分，它是我的娱乐、工作和兴趣爱 式联结起来。开始工作前，我会明确想法和目 最初是从我母亲那里接触到时尚的。在前苏联时
好。艺术带给我成就感和满足感。 标。这样，工作必然畅通无阻。在创作图形时， 代，很难找到或者买到与众不同的东西，因此我
我必须提前做好准备。虽然没有计划也会快乐， 母亲就自己做衣服，当时很多女人都这样做。受
艺术已经渗入到了我的生活的方方面面，艺术让 但那不是我工作的原则。 她的影响，我开始为玩偶设计衣服。我特别喜欢
我更加了解我自己。这就是我最初从事服装系列 给它们设计新衣服。直到现在，我妈妈还保存着
女孩系列 创作，而后来开始进行图像创作的原因所在。一 当然，凡事都有例外。开始时，一定要明确具体 我当初用纸箱做的玩偶。慢慢地，我开始设计服

装，我不仅想为自己设计衣服，也想为他人设
计。艺术家的穿着总是与众不同，天生对美就
有最敏锐的直觉。一件衣服，如果从头到尾，设
计、缝纫和刺绣，都是你自己完成的，一旦穿在
身上，那种成就感绝对是常人难以想象的，会让
你糟糕的心情变好。这件衣服就像你的第二层皮
肤，你知道它是唯一的，你感觉自己就像一朵悄
然盛开的鲜花——面带微笑，享受生活。
出席各种场合的时候我经常会搭配一条得体的长
裙。每次时装发布会我都会为自己设计一条新的
与时装发布会主题搭配的长裙。在其他国家举行
时装发布会是非常有趣的经历。我和同事受邀在
到英国BBC一档节目“波罗的海国家节日”上展
出我们的作品“Migracija”。展出的服装是立陶宛
人设计的，创作过程中使用了传统纺织品，如天
然纤维、画布和亚麻布等，服装都是浅色系的。
说到这里，我要提一句，我设计了一些参展时装
的草图，希望能在最近展出。
室内设计师很喜欢你的作品。如果你熟悉的设计
师在他们的室内设计中应用到了你的创作，你有
什么看法？
了解其他人是如何看待、理解你的作品，知道他
们会在哪里展示你的作品，这是一件非常有趣的
事。出席其他国家的展览开幕式时，如果能够看
到自己的作品，我会非常开心。艺术品会因展出
环境不同而显示出不同的风采。有的展出地点会
凸显作品的思想性，有的则不然，但依然非常有
趣，因为作品也会反映与环境之间的联系。艺术
家就像乐队指挥，凭借在创作中融入自我的感
受，提升并创造出令人难以置信的作品，进而被
大众所接受。人们认同你的创作，你的能量、情
感和思想也会随之融入他们的生活。作品陈列在
美术馆里，和放在自己家里，意义大不相同。创
作者和购买者之间不存在必然的联系。只有买家
喜欢我的创作，我们之间在思想和情感上才会存
在某种联系。
你的主要创作灵感是什么？
有时，很难说清楚是什么激发了创作灵感。我
想，可能是复杂的情感和生活经历吧。就像一朵
盛开的鲜花，闭上眼睛，你会闻到无比的芬芳，
睁开眼睛后你还会看到花的颜色，这要看在你心
中什么最重要了。这就是艺术。我喜爱旅行，旅
行可以增加体验，丰富自我，开拓视野。此外，
了解其他艺术家的创作也是非常必要的，这不仅
可以激发灵感，还能促进自己的进步。
不光你自己的经历，他人的经历，也可以成为灵
感源泉。但是，如果你想在作品中呈现更多的情
感，例如痛苦，你必须要有亲身体验。有时痛快
和快乐相伴而生。我会通过作品来反映周围环境
WWW.ZANETAJASAITYTE.COM ARTIST 艺术家 PAGE 129
时尚艺术系列
好的一面和坏的一面，而且一定要是真实的，不 你有立陶宛和俄罗斯的血统，也曾在在葡萄牙居 我认为，大自然是孩子最好的老师，它教会了我
能是虚假的。“对”的工作环境对我来说也很重 住过一段时间。这种多元文化的影响是否也会在 如何感受万物，自由想象。
要。我喜欢一个人在工作室中创作，不希望有人 你的作品中有所体现？
打扰，分散我的注意力。如果工作室和家离得 后来的人生中，对我产生影响的就更多了，艺术
近，那就最好了。在不同的工作环境，譬如在家 你说得没错！不管飞机让世界变得多么小，也不 学校和大学里的老师、书籍，以及真正的展览。
工作，我就很难集中精力。和他人交流、合作、 管全球化趋势多么普遍，文化差异在很大程度上 一位枯燥、乏味的老师会毁掉你对任何事情的激
分享经历，是更为重要的一点。在进行重要创作 依然存在。这些差异的存在让我感到高兴，在与 情。我很幸运，遇到的老师都非常优秀，他们讲
时，一定要集中注意力。阅读或者仅是翻翻书有 他人的合作中，我经常可以发现这些差异。旅居 的课也都生动有趣。
时也很有帮助，也可以坐下来观察…… 国外、到国外旅行的经历，都在我心中留下了印
迹给了我艺术创作的灵感。 在大学继续深造时，我强烈渴望了解更多的艺术
你喜欢大规模的创作吗？ 新知识，寻找艺术的源泉，最后我来到了葡萄
旅行确实打开了我的眼界！我曾在葡萄牙旅居约4 牙，实现了自己的愿望。
这要看具体情况。我通常会根据某个主题进行系 年，回国时心情复杂，非常舍不得。现在，我和
列创作，很少有单一作品。要是把这些系列作品 那里的朋友依然保持着紧密联系，我也一直想办 ESAD是葡萄牙一所设计和艺术大学，就在波尔图
放到一起，可能也算是大规模创作了。从这个角 法去那里展出作品。旅居葡萄牙的经历让我变得 港附近的马托西纽什，这所学校侧重教授艺术理
度而言，我更喜欢大规模创作，因为它有利于表 更真诚，也更了解了自己，我个人得以有很大程 念，而不是一些初步的技巧。每种文化差异都会
达我的想法。我不是一个注重细节的人，我关注 度的提升，变得比以往更擅交流。 让我有新的发现。
的是整体概念，这样同样更有利我展现自我，表
达情感。由于没有大型打印机，制作大篇幅的图 我的混血血统同样对我个人产生了很大的影响。 我觉得全部的人生经验最后会融为一个主线。孩
样非常复杂，我必须一个部分一个部分去完成。 我从父母那里继承了各自不同的性格特点。我父 童时的经历会融入你的学校经历，最后融入各种
有时，我会同时绘画和制图。 亲是立陶宛人，我遗传了他的固执、好胜。我母 不同的文化体验中。所有的一切构成了今日的
亲是俄罗斯人，她教会了我要努力工作、热爱工 我。毋庸置疑，实现自身和谐发展与亲近自然非
到目前为止，你在英国、立陶宛、拉脱维亚以及 作，并让我认识到人们可以凭借自己的双手创造 常重要。当你处于和谐状态，你就会从其他人和
葡萄牙都展出过作品。能讲讲这些国家人们的看 很多东西。我和我父母的关系非常亲密，对他们 其他艺术家那里获取灵感。我的经历告诉我，艺
法有什么不同吗？ 教给我的一切，我心存感恩。 术家保拉·雷戈(Paula Rego)和建筑师阿尔瓦罗·西
扎·维埃拉（Álvaro Siza Vieira）的作品就对我有
每种文化都有自己的特色，对展出的作品也有各 现在，哪个画廊可以代理你的作品？ 着异乎寻常的吸引力。同时，和其他人一样，音
自的看法。一个短语在不同的国家也可能会有不 乐、书籍以及电影同样，也会带给我灵感。
同的涵义。单纯的一个短语，翻译成其他语言时 我和葡萄牙一家名为“Serpente”的画廊一直保
可以就会导致愤怒和不满，而这就是因为文化的 持着密切的合作关系。画廊负责人不仅会对我的 你最喜欢创作技巧是什么？
差异。 作品提出意见，也会予以指导。这家画廊口碑极
佳，善于和他们所代理的艺术家和顾客进行交 我最爱的是平面设计！对图形和图形设计，我非
尽管同处欧洲大陆的这些国家有很多不同，但同 流。在我很年轻且还没出名，甚至称不上艺术 常保守。对要用到的技巧以及所使用的图片数
时彼此间又有很多相似的地方。因此，在欧洲展 家的时候，他们就展出了我的作品。对此，我一 量，我的要求非常严格，而且一定会亲自确定。
出作品并不会产生什么极端的反应。有些事物的 直非常感激他。每年在立陶宛举办的艺术博览会 高强度工作后身体上极度疲劳，但这会带给我一
意思是通用的，例如，淤泥意味着又黑又脏；而 上，我都会代表这家画廊参展。当然，我也希望 种满足感。挑选材料时，我甚至达到了吹毛求疵
关于贫穷的定义，因国家而异；空虚，心理学名 有机会和更多知名的画廊合作。 的地步，力求精确。我使用的油毡，必须是历经
词；侵略，意味着仇恨外国。认真思考一下这些 岁月洗礼，不仅是由无数人踩踏过而且要有椅子
常见的情绪反应，你会发现，欧洲各国对它们的 你打算进军亚洲市场吗？ 长期使用留下的凹痕，或者拖动桌子留下的划
理解基本上差不多。对一个艺术家来讲，最重要 痕，或者摔碎的盘子划破的痕迹。我喜欢让这样
的任务，就是利用各种艺术形式真实准确地表达 坦白讲，我还没有去过亚洲，不过有这样的打 的东西在我手中焕发新的生命。我特别喜欢彩釉
这些情绪反应。 算。我儿子刚会走路，等他大点儿，可以长途旅 画。我认为，在选择运用哪些创作技巧时，应该
行时，我会立刻打包。我很想去中国和日本。我 考虑我们的性格，我们是谁，以及我们想要表达
虽同在欧洲，但有些地方的人，某些特征更为突 渴望能够从亚洲艺术家那里学习新的技艺，也许 什么。
出，例如东欧人害羞、保守，而西欧的英国人和 还可以进行某方面的合作。
南欧的葡萄牙人就很少这样。西欧国家的人似乎 你对未来有什么规划？
更乐于提问题，与艺术家进行对话。另外，举办 对你的创作有影响的因素有哪些？
展览的方式也有一些不同，例如波兰画廊开幕 我现在主要照顾我的儿子，做母亲不亚于一份全
时，通常都有一个正式的开场介绍，而葡萄牙的 我最大的灵感源泉是大自然。很小的时候，我及 职工作，需要付出全部心力。虽然生活充满了挑
开场语则会让人觉得融入了一个亲密、友爱的家 本都在户外玩，爬山、捉虫子、捉蝴蝶。我还记 战，但我依然坚持进行艺术创作。我需要一些时
庭，能够近距离接触作品和创作者。 得全家骑车去附近的一片森林玩，我们在那儿搭 间，等我儿子足够大后，我就可以全身心投入工
了一个炉子，我就用烧过的木炭画画。岁虽然是 作了。我的梦想是希望能够出去旅游，学习一些
在我看来，和参观者的近距离交谈有助于他们理 个孩子，但那时的我已经明白，坐在树荫下可以 新技能。在将来的创作中，我还想加入光线。不
解我的作品的内涵。而我也能够更好地向感兴趣 激发我无穷的想象力，风和海浪的声音，以及远 过，我更喜欢谈论我已经完成的作品，因此我很
的参观者介绍我的创作灵感以及创作过程。 方的地平线，都会带给我灵感，让我内心平静。 乐意向大家介绍我近期的作品。

We had the pleasure to speak with one of
the most interesting and promising artists
from the Baltic Countries. She developed a
distinctive style of visual speech and applies
her unique language on different media with
a surprising ease. Painting, drawing, stencil,
engraving, sewing, illustration, fashion design
or even photography allow her creativity to
surprise and fascinate the observer.
Please tell us a little about your professional
path.
After I was born and able to hold a pencil,
I never put it down again. I was constantly
drawing my fantasies, which adults
sometimes failed to understand. Drawing was
a funny game to me, which started flowing in
my veins. I could not live without it. Art became
a part of my life: play, work and hobby. It allows
me to feel realized and complete.
It turned out that the art infiltrated all spheres
of my life, enabling me to realize myself. That’s
how the first clothing collection was created,
followed by artistic photo sessions. Graphics,
turned into lanterns and inspired by life, is
dancing in animation films. Paintings and
prints interlace acts of thinking and philosophy,
expressing feelings. Illustrated characters
cozily affect the beginning of the next day,
sincerely welcoming and telling stories ...
I once dreamed of studying stenography.
Maybe that’s why I try to embrace life like a
playground or a stage.
It’s important to play. If play can become your
job, then your job becomes the joy of your life!
I feel happy being able to play and experience
pleasure in what I do. Even tiredness becomes
pleasurable when the results are pushing
you forward. It is important to me to feel the
connection between feeling and expression.
Before I start working I have a thought and a
vision. After that the work has to flow like a
river. I have to be a step ahead while creating
graphics. Randomness is a pleasure, but not
the base of my work. Certainly, there are
always exceptions. The actualization starts
with the concrete idea of what needs to be
done. So, I try to finish a collection with the
exhalation. After inhaling and before exhaling,
reaching the goal involves some sweat and
tiredness. The process is the most important
for me. Once something is done, you do not
know what is going to happen next. But during
the process, you feel you are flying forward.
The result is like an eaten apple, which was
delicious, sweet, and juicy…
When you pause to think and asses your
work, certainly you think about the things that
could have been done better because there
is no limit to perfection. Sometimes you think
that some pictures should not have been
exhibited, and some of them should have
been exhibited in more places. I encounter the
question of self-dissatisfaction and the search
of perfection. After all, the ideas have to arrive
following a certain path; and it’s not always an
easy task.
You make painting but also illustration, are
there some differences in your approach to
this fields?
The feelings and harmonious answers to
public and myself are important to me. As I
previously mentioned, it is important to me
to reflect the feeling with a vision. Answering
this question, I have to describe two of my
personalities. The first personality expresses
the strong, forceful, and balanced opinion.
You could even call the expression masculine.
It reflects in my graphics and paintings. The
second personality is adventurous, laid back,
funny and accessible. You could call this one
primitive. The second personality is easier to
express through the illustration. Maybe it is a
peculiar expression of the childhood’s play. I
don’t know, maybe the time will come when
I will be able to combine both personalities
into one area. But for now, it is easier for me
express my thoughts this way.
You also presented some fashion collections
in UK and Lithuania, why fashion?
Of course, every woman wants to feel the only
one and unique. Maybe my mom introduced
me to fashion. In Soviet times, it was difficult
to find and buy something different, so my
mom was sewing clothes herself, as many
other women. Naturally, I started creating
dresses for my dolls. I specially loved drawing
new clothes to my dolls made from carton,
which I cherished. My mom saved the carton
dolls until now. Naturally, I started creating
dress collections, which I wanted to wear
myself and at the same time introduce the
ARTIST 艺术家
dresses to others. It happens that artists often
dress different; and this is natural to us based
on our internal aesthetics instincts. You feel
great after putting on a dress that you sewn,
painted and embroidered yourself, even if you
did feel badly before. The dress feels like a
second skin. You know you are the only one
and unknowingly start blooming - smiling and
enjoying life.
The main outfit for me is a suitable dress.
I create a new dress for myself for every
new exhibition to reflect the mood of
that exhibition. It is always an interesting
experience to present my clothes in foreign
countries. My colleague and I were invited to
present our collection ‘Migracija’ in the BBC’s
project, Norwich’s Baltic States Festival, in
UK. The collection was created for the people
of Lithuania. It was created using traditional
fabrics (natural fibers, canvas, and linen) and
pastel color combinations.
At this point, I have a few collections sketched,
which I want to realize in a close future.
Interior designers tend to enjoy your works,
do you like to see your creations in interior
design projects made by people you don’t
even know?
It’s always interesting to see how other people
perceive your work, how they interpret it, and
where they choose to exhibit it. It’s a lot of fun
for me to see how my work is exhibited once
I arrive to the opening in another country. The
work does look different in different spaces.
Some spaces strengthen the context of the
thought, others strengthen it less, but it is
always interesting to see because the work
also reflects the contact with the surroundings.
An artist is a conductor who grows and
creates something incredible by adding a
piece of himself to his creation. Then the
creation is framed and sent out into the world.
The people let it into their lives and spaces
with your energy, your feelings, and your
thoughts. The creations have a different sound
in somebody‘s house than in galleries. The
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connection between the author and the buyer
is not necessary. If the buyer likes my creation,
then there is some kind of connection between
our perception or feelings.
What are your main inspirations?
Sometimes it is difficult to say what influences
the birth of the creation. I think, it is the
complex of experienced emotions and life
experiences. It’s like a blossom, maturing
and growing. When you close your eyes, you
enjoy the incredible smell. Once you open your
eyes, you enjoy the fusion of the colors. You
perceive what is important to you. That’s called
art. I love traveling. You gain new experiences,
which enriches us, opens new doors again
and again. I believe, that the work of other
artist not only inspire, but is necessary for
moving forward. You use not only your own
experience, but what was already discovered.
However, if you want to reveal more serious
emotions, maybe even pain, you have to live
through them yourself. Maybe suffering and
joy can be joined together, just like during birth.
I reflect my surroundings, good or evil, but only
what is real, not pretended. It is very important
to me to work in the right environment for
me. I love working in the studio by myself.
It is important that nobody disturbs me and
lets me concentrate. It is the best if the studio
is close to home. It was more difficult for
me to concentrate working under different
conditions, like working in residencies. Then
communication, collaboration, and experience
sharing was more important. It is necessary to
concentrate for serious creative work. Reading
or turning pages of certain books sometimes
helps, as well as sitting and watching the see…
Do you like to work in large scales?
It depends. I usually work on series with a
specific theme, not a single piece of art. The
series, connected together, can appear as large
scale. Overall, I prefer larger scales. It is easier
to express yourself this way. I am not a careful
person - I like the appearance of whole picture.

It is easier for me to reveal myself and my
feelings in it. It is complicated to create large
works of graphics because there is no large
printing machines. Then I am forced to work
in parts. Sometimes I combine painting and
graphics.
So far you have presented your results in the
UK, Lithuania, Latvia and Portugal. Could you
tell us about the differences in the reactions
across the borders of each country?
Every culture has its character and a
particular view towards something that is
being presented. A single phrase may have
a particular meaning when traveling across
the countries. One single phrase may cause
anger or irritation when translated into a
foreign language purely because of the
cultural differences. However different we
are in the European continent, at the same
time we are similar to each other. Therefore,
exhibiting work in Europe does not cause
extreme reactions. Some things are universal
in understanding, may it be mud – dark
and dirty, poverty – varying across the
nations, emptiness – it can be psychological,
aggression – may it be xenophobia. When
thinking of such basic emotions the
understanding of it will be quite similar in
Europe. The most important task for an artist
is to dress up these meanings in an honest
and genuine manner.
Perhaps some of the most distinct features
that can be seen in Eastern Europe are
shyness and conservatism. This will be
reduced in countries like England and Portugal.
It seems that people in Western Europe are
more prone to ask questions and have a
conversation with the author of the art. There
are some differences in how the exhibitions
are being made, e.g., a Polish gallery opening
will most likely contain an official speech for
introduction, while a Portuguese opening will
remind you more of entering a home, filled
with intimacy and close proximity to the art
and the author.
To my mind, a close conversation with an
observer is very important in conveying
the meaning behind my work. In this way I
can better describe my inspirations and the
process behind the scenes to the interested
public.
You have Lithuanian and Russian blood, in
your lifetime you have travelled a bit and
lived in Portugal for a while. Does the cultural
mix you have experienced is being reflected
in your art work?
I will give you a definite Yes! However small
the world looks like today with the air travel
available, however globalized we get, the
cultural differences still exist to a large extent.
I am very happy about it, and it is being
reflected in the collaborative work. Living
abroad and visiting foreign corners leaves
footsteps in my mind and it does influence
my art. Travel experience is definitely a door
opener! My experience in Portugal lasted for
around four years in total. It was very hard to
say goodbye and go home, however, I keep in
touch with my friends there and I try to exhibit
my work in Portugal as often as I can. Living
in Portugal has made me more honest and
open with myself, it allowed me to grow as an
individual. It made me more communicative.
My mixed blood has influence on me as an
individual. My father and mother instilled
different qualities in me. My Lithuanian father
has taught me to be a stubborn achiever. My
Russian blood mother has taught me to work
very hard and with love, and that humans can
build a lot with their bare hands. I have a good
relationship with my parents and I am very
thankful to them for what they have taught
me.
What galleries are representing you today?
I have an established a close relationship with
a Portuguese gallery called 'Serpente'. People
in 'Serpente' are my critics and my mentors.
This gallery has excellent reputation in
communicating with their represented artists
and the customers. This gallery accepted me
when I was a young, unknown, yet dummy
artist. I am thankful to them and I always try
ARTIST 艺术家
to help them to exhibit in 'Artexpo' fair that
takes place yearly in Lithuania. Also, I am
always in search for new galleries with strong
a reputation.
Are you planning on working with Asian
markets?
To be honest I haven't travelled to Asia yet,
but I am definitely planning to do so. As soon
as my toddler son is big enough to survive the
long duration flight to China or Japan I will pack
up my bags and go! I would like to learn new
techniques from the Asian artists and perhaps
do some collaboration.
What are your influences?
My biggest inspirational well is nature. Since
very young age I spent a lot of time outdoors
climbing trees, catching bugs and butterflies.
I will never forget family cycling trips to the
local forest, then creating a fireplace and after
drawing with the black coal left after burning
wood. As a child I already understood that
sitting in the shade of a tree empowers me
with vivid imagination, the sound of the winds
and waves in the sea inspires and calms me,
the line of the horizon states tranquility. I
think that nature is the best teacher to a kid, it
teaches to feel and to be free.
Later on in life my influences came from
teachers, books, academic staff at the
arts school and university, also from real
exhibitions. I know for sure that a boring
teacher can kill your passion for anything you
have. I was lucky to be mostly surrounded by
excellent teachers who made their subjects
interesting.
When continuing my studies at university I
started to feel hungry for new knowledge and
sources for my artistry. Eventually arriving
to Portugal satisfied my needs. Portuguese
school (ESAD in Matosinhos, near Porto) was
more oriented to the ideas rather than the raw
technique. A cultural difference was an eye
opener.
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I think your whole life experience comes into
one. The childhood experiences unite with the
formal education and finally with the cultural
differences. This one mix makes me who I
am today. It is definitely important to live in
harmony and connected to the nature. When
you are harmonized, the influences come from
people and other artists. I have discovered
works of Paula Rego and architect Álvaro
Siza Vieira very appealing to me. I also find
inspirations in music, books and cinema just
like any of us do.
What are your favorite techniques?
I love graphic design! I am really pedantic
about graphics and how I do it. I am very
precise about the technique and the amount of
paint I have to use, there I get really involved! I
love the physical tiredness after working with
the press. I am very picky and precise when
I choose my materials. I use linoleum, which
is weathered by time, trodden by hundreds
feet, dent by chairs or scratched by pulling
table or by plates breakage. It resonates with
my soul. I am not afraid of hard work, I will
repeat it tens of times before I get it right. I
am a bit obsessed with horizontal lines and
what I can create with it. I like to bring in the
feel of freshness in my work. I quite like Glaze
painting. I think we all choose the techniques
according to our character, who we are, what
we want to express.
What are your future plans?
I have to adapt to my little sons needs. Being
mummy is a full time job that requires a lot
of energy, I am trying to stay on track with
the artistic work however challenging it gets. I
need some time, as my son grows up I will be
back working 100% again. I have a vision for
the future which involves some travel and new
techniques. I would like to integrate light in my
future work. However, I prefer to talk about the
work that has been done, so I will be happy
to talk about the results in the nearby future.
(Interview by Emanuel Barbosa)