Q: Many of your pieces have a fluid, dreamlike quality that feels spontaneous and organic. When you begin a new work, do you have a clear vision of what you want to create, or do you allow the piece to evolve naturally as you paint?

A: I think what you describe is the very essence of my art and the art that I'm drawn to. It is this magic ingredient of the spontaneous along with the reflection of internal processes that makes a piece work or not work. So, the pieces I enjoy doing the most are the ones that just happen without much planning. Be brave, be bold!

Q: Your work often combines surrealism with bold and unexpected colour choices. What attracts you to this mix of surreal elements and vibrant hues, and how do you go about selecting the colour palette for each piece?

A: I can’t give you a clear answer to that. With my training being rather informal, it’s fascinating to see how my aesthetic choices are reflected. I don’t think much about it. Aside from my use of colours, I really admire the contrasts of black, grey, and white. Don’t worry too much about your training—just keep trying, exploring, and experimenting!

Q: As a contemporary artist working in surrealism, how do you feel the genre has evolved over time? What new directions do you hope to explore in your future projects?

A: I find it to be a sad genre as is, and it’s true for most modern art collections - they are composed of the same (surrealist) male painters from a certain time. I find it sad that these museums don’t take a more radical approach to replace them. Of course, it is difficult because it’s what people want to see, but it is so uninspiring. When I was in Mexico, I had the great (and slightly voyeuristic) pleasure of reading some personal correspondence between Frida Kahlo and Diego Rivera. Frida was invited by the French surrealists. Although she never saw herself as a surrealist painter, she detested their arrogance and self-centredness. Frida was greatly influenced by her country’s indigenous heritage.

I draw on these inspirations to approach art making as a channel from the inside out, rather than viewing what I do or who I am as special. For future endeavours, I’m increasingly drawn to creating large-scale installations combined with sound art. Stay tuned!

Q: Every artist draws from a range of influences, whether they’re other artists or life experiences. Who or what are some of your biggest artistic influences, and how have these inspirations shaped your approach to art?

A: I think Mexico and the art history there is very special to me in that sense. I lived there for two years with all its ups and downs. Mexico's liberal government during the 1940's and onwards took in a lot of artists living in exile from Europe during the second world war. The country's folklore inspired a wave of surrealists.

I’ve never encountered so many strong female surrealist and feminist voices, from that time, outside of Mexico. These artists are appreciated in Mexico to this day. I love the work of Frida Kahlo, who is an exceptional personality. Just to name a few others: Alice Rahon, Leonora Carrington and Remedios Varo. Unica Zürn was also a surrealist artist from Germany that I admire a lot.

Q: As an artist, how do you navigate the balance between creating for yourself and creating for an audience? Do you ever feel external pressures influencing your work, or do you focus more on personal expression?

A: I never create for myself. It’s very rare that I feel the desire to keep an artwork for myself. I enjoy the process and adore it when the outcome is positive—though, of course, that’s not always the case. The creative process brings me a lot of joy. In the future, I also want to channel more of my political worldviews and current challenges into my art.

Q: What are some of the biggest lessons you’ve learned throughout your artistic journey, and how have they shaped the way you create today?

Never, ever let someone judge your work unless you specifically ask for their opinion. Trust yourself. Trust your brush strokes and your pencil, and dare to take more risks. Deep down, we usually know what feels 'right,' but we often hold ourselves back. Be honest with yourself—what you think works will usually resonate with others as well. If something doesn’t work, let it go and try something new.