Nadia collects photographed details; the patina aged on stone, rhythmic distortions on water, shadows drawn by trees. It is these small details that help her tell the bigger story. She uses several images, collected on location which are then layered in camera or at the studio, together they convey a sense of place and time. She further makes visual notes in her sketchbook on location and when back in the studio she adds washes, paint, chalk and ink onto the final image. Often the original photograph disappears from documentary single imagery toward a more painterly poetic interpreted view of the world. Nadia studied Postgraduate in Photojournalism at The London College of Printing graduating in 1999. She worked as a Press and PR Photographer before settling into full-time Fine Art 3 years ago.
1) Which art movement do you consider most influential on your practice?
I was formally trained to see with a photographers eye, so I translate the visual world instantly in terms of light, texture and photographic composition very much the building blocks of photography But it is painting, both Classical and Contemporary Landscape Art which I find the most inspiring
2) Where do you go and when to make your best art?
Morning time, after coffee, daughter in a nursery, music on then I can begin. I have my studio at home, so not far to travel. I create the work primarily from my landscape images which are made during my travels, I add further creative elements to these images from my studio. So I make work from nature and bring it home.
3) How do you describe your 'creative process'?
Like an octopus. I work best when I am moving between photography and other creative processes like drawing and painting. I find that each process feeds and resonates into the next whether complimentary or in parallel. I can be working on pure photography, scanning negatives, shifting levels in the digital darkroom and minutes later be cutting paper, glueing textures, painting and drawing, then mixing all these elements together and back again. I always work on several pieces at the same time.
4) Which artist, living or deceased, is the greatest inspiration to you?
David Hockney, his work is forever changing and adapting, experimenting with new visual mediums, always pushing his creative process, he does this seamlessly. I love his spirit and curiosity. In photography it is Alex Webb, the way he uses a frame, within a frame, he makes the everyday look extraordinary. His way of seeing and interpreting the world is beautiful and unexpected.
5) If you weren't an artist, what would you do?
A chef, creating tasty eats. Experimenting with different ingredients and learning well-crafted recipes from elders. My dad had restaurants, we grew up in this environment, so it feels like home. It is hard work, long anti-social hours, but there are a creative energy and immense satisfaction in the process and in making people happy.
6) What do you listen to for inspiration?
Lots, but currently, Gill Scott Heron, The Lumineers, Zero 7, Blood Orange, Simon and Garfunkel, Jose Gonzalez, Yann Teirsen, First Aid Kit, Omara Portuondo, Orchestra Baobab
7) If you could own one artwork, and money was no object, which piece would you acquire?
It would be Ancient, probably Etruscan, a tall elongated sculpture like the Shadow, but in the female form. If money were no object I would create a room for it to let others also view it, then I would take it home with me for tea. A part of the ancient past sharing my today.
8) If your dream museum or collection owner came calling, which would it be? Victoria and Albert Museum
10) What is your favourite book of all time (fiction or non-fiction)?
I am dyslexic, so reading books has its challenges, travel writing is the only genre which I truly enjoy, which I find inspiring and can absorb. Travelling without moving is my favourite other pastimes.; Books recalling the adventures of solo seniors cycling around the globe or chaps chasing shamanic rituals across the Amazon or feathers in Papua New Guinee, or epic slow train Journeys, or travels along the Silk Route. Otherwise travel books which describe the everyday in extraordinary places, like the series of books by Guy Delisle he writes and draws graphic novels, my particular favourite is Burma Chronicles, detailing his daily life in Burma looking after their child as his wife works at MSF. Bill Bryson’s closer to home travels from the 1970’s “Neither here, nor there” is perhaps the most laugh out loud book I have ever read.
11) If you could hang or place your artwork in one non-traditional art setting, where would that be?
The floor of a water-filled swimming pool
12) What was the biggest lesson your university course or time studying taught you?
That time is precious
13) And finally, if we were to fast forward 10 years, where would we find you?
Creating much bigger artworks and working outdoors more.
