Gaya Lastovjak
Krakaow, Poland
Gaya Lastovjak is a contemporary figurative artist in Poland known for her symbolic, three-dimensional paintings that explore humanity’s dualistic nature, particularly the tension between good and evil. Exhibited internationally, her art often uses white as a primary focus, replacing color with shadow to create a sculptural quality inspired by ancient art. Lastovjak is interested in philosophical anthropology and emotional states, incorporating hope even when dealing with difficult themes
Artist's most recent symbolic, three-dimensional paintings explore themes relating to the dualistic nature of man, that is good and evil, which is part of human nature. She also engages in a dialogue with current events and phenomena.
Artist Interview
Q: Your work often explores the duality of human nature, focusing on themes like good and evil. How did you first begin to approach these complex ideas in your art, and how have they evolved over time?
A: At the beginning I would like to thank you for inviting me to this interview. Each of my works has a symbolic meaning, but this was not always the case. It developed over time. I wanted my works to be not only pleasing to the eye, but also for their form to convey some essential human content. Internal pain, collusion, lies - these are the topics that I discuss in my works, those showing the evil side of human nature. I try to show the despair, hence the torn bodies expressing a cry for help. Works depicting good qualities such as support, fun, love or transformation for the better are more delicate in form and are not as expressive as paintings with a negative aspect. Just like human emotions, negative ones always trigger a stronger reaction.
Thanks to intensive observation of people, I have become even more sensitive to the surrounding world, which results in subsequent stages of the development of my art. I choose more difficult topics, entering the sphere of psychology and psychiatry. These are not only good and bad human traits, but also such as being lost and not being able to cope with difficult situations in life. Of course, there is always an element of hope.
Q: The sculptural quality of your three-dimensional paintings is striking. Could you share more about your unique technique with papier-mâché and how it influences the emotional resonance of your work?
A: The process of creating my works is time-consuming and extremely thoughtful. I don't take up a topic until I'm sure I can handle it. Paper mâché is a difficult material that requires constant supervision. Patience and systematicity are required when forming shapes. First, I create the skeleton, then I trim and shape it. To connect several body parts, for example the arm with the torso or the neck with the face, I apply thin layers of paper to avoid distortions. Medium format works take several months to complete. This is due to the long drying time, but also to shaping the final form. Papier mâché is a technique based on creating a shape using layers of paper - if the layer is too thick, moisture will distort it. The time consumption and constant observation of the emerging shapes significantly influence the creation of the final message of the work. Because they are created so slowly and I have time to constantly observe them, I can gradually strengthen their message and make the viewer feel the emotions I want to convey.