Interview: Daria Avdeeva
Luca Curci talks with Daria Avdeeva during SECRET SPACES, second appointment of BORDERS ART FAIR, at Palazzo Albrizzi-Capello.
“Daria, born in 1996 in Russia and raised in the UAE, is a fine artist with a multicultural background, who is greatly influenced by Bulgarian, Russian and Italian traditional academies in which she has studied. She has a deep understanding of classical art techniques and applies them to traditional subjects such as still life, portraiture, and figurative painting. However, she also adds a modern twist to her work, creating fresh, lively, and colourful pieces.”
Luca Curci – What are you currently working on?
Daria Avdeeva – In terms of my paintings, I typically have around five pieces in rotation that I actively work on. Currently, my creative energy is dedicated to a deeply moving and heartwarming series. Within this series, I delve into the concept of femininity, seeking to explore and define its meaning for myself. In terms of a broader vision, my focus is on expanding my artistic horizons, seeking increased visibility, and continually honing my craft as I grow older.
LC – Which subject are you working on?
DA – I have a fondness for painting portraits and figures, as they allow me to convey specific emotions that can be read by the viewer. However, I also find joy in creating still-life compositions. It’s fascinating to tell a story through inanimate objects, giving them a sense of meaning. Animals, for me, hold great symbolism, and I often incorporate them into my artwork. On the other hand, landscapes have never quite resonated with me personally. Most of my artworks capture still moments in time, akin to visual representations of thoughts or ideas.
LC – Do visitors’ suggestions enrich yourself and your art?
DA – I haven’t received any suggestions. As long as people aren’t pushy and express their criticism politely, I am all ears.
LC – What is the most challenging part about creating your artworks?
DA – I strive to avoid repetition while still preserving the essence of my personal style. It is crucial for me to nurture my creative impulses, even if there is fear of potentially ruining a painting. More often than not, I have found that trusting my instincts leads to positive outcomes. Ironically, this means that overthinking should be minimized, allowing for a more instinctual and authentic creative process.
LC – How do you choose your subjects? Is it a reasoned or an instinctive process?
DA – It’s a mix of both approaches. When it comes to commissioned artwork, I do discuss the subject with the buyer. However, I have been fortunate that those who have commissioned pieces have given me incredible freedom, resulting in artworks they truly love. On the other hand, when I have the freedom to create as I please, my process is mostly instinctive. I’ve noticed that when I try to force or contrive my work, it becomes evident, and even the viewer can sense it. So, it’s easier and more rewarding to remain honest and true to my artistic instincts.
LC – What is the message linked to the artwork you have shown in this event? How is it connected to the theme of the entire exhibition?
DA – The exhibition’s theme is incredibly broad, making it easy for me to establish a connection. Overall, my art, including the four pieces being presented, revolves around exploring specific mental states, emotions, and moments of slowing down to truly listen to oneself. While I don’t consider myself a deeply spiritual person, I often experience overwhelming feelings. With my artwork, I aspire to share my unique perspective and provide a sense of solace to both the viewer and myself.
LC – We were attracted by your last artistic production, has the artwork presented been created for the exhibition or as a part of preexisting works?
DA – All of the artworks I present are not created with a specific event or exhibition in mind. As mentioned earlier, I prefer to avoid forcing my creative process. Instead, I find it natural to create artworks in bundles or pairs, resulting in mini collections that complement one another. This approach allows for a more cohesive and engaging narrative, incorporating contrasting elements and often achieving a harmonious balance between two or three paintings.