Aida Sabics work is, quite simply, gorgeous. As a self taught artist, pursuing her dream of drawing and art since high school, Aida has, over the years, honed her skills in an ever progressive exploration of form and process.
We’ve been long time fans of Aida’s work here, back when we first saw her work we were completely enamoured, and now we can’t get enough. Her appreciation and attention to the expressions of the female form not-withstanding, it is her technique, and sense-driven renderings that truly makes her work stand out from the crowd.
Luckily for us, we had a chance to ask Aida about her work, and learn a bit more about her ever evolving creative journey, and, simply, what it is about these images that makes them so distinctive …
You’ve been drawing since you could hold a pencil, totally self taught, and have made amazing progress over the years with your work – what else in the past has contributed to putting you on this creative path?
Over the last three years I started exhibiting my work in solo and group shows. These experiences have led to meeting many creative, talented and enthusiastic people – they’ve all played a huge role in my artistic development; through inspiration, motivation, support and encouragement.
Most of your work revolves around portraits of women, and exploring the charismatic virtues that are obviously inherent in your interpretation of the subject matter – what is it about the female form that draws you in so inspires you so much in terms of your work?
My inspiration comes from many places – often from books, songs, and experiences, but also from interactions with people or just seeing someone in the street. I find myself relating to the feminine and the visual result of an idea just comes to me in the female form. Women are fascinating and complex, so it’s no wonder that they have featured as muses for many art forms for such a long time – I enjoy telling their stories.
Can you tell us a little more about the series of pieces you’ve been working on involving girls and drips? Where did the impulse come from to explore this territory? What new techniques have you been exploring with your new works?
This new series seems to be a natural evolution for my work, blending the rougher layered style from my ‘Collection of portraits’ work with a looser approach with the paint application. Letting the texture, layering and colour create the mood has been the main idea behind this work.
In terms of style, you’ve crossed into a whole variety of different methods within your work – do you believe you will ever settle on one form or are you happy expanding and exploring different styles within your work?
Most of my work changes from piece to piece and looking back over the different bodies of work I have done, it almost looks like someone different painted each one.
I have experimented with a few different techniques and mediums over the years, some of these include; splashes of textured colour applied with a palette knife, smooth and detailed acrylics on canvas, painting on wood panels, dripping paint and playing with layering, ink on paper, charcoal, and pencils.
Obviously, I love change, and exploring new techniques and mediums is the best way to keep evolving. I don’t know that I could ever settle into doing the same thing over and over.
Outside of your work on female portraits, illustrations and other representations, what other subject matter most interests you? We saw a beautiful piece of the Eiffel Tower on your blog – do you often delve into these other subjects?
I love the urban landscape, although I have not painted it a lot, it’s something I plan to explore. Also, after spending some time in Europe, I have been thinking a lot about the different colours and textures of the old cities and how I’d like to incorporate this inspiration into future work.
You’ve had and been involved in a number of exhibitions over the past few years, can you relate to us some of your experiences in exhibiting your work, and what have been some of the stand out moments thus far?
The experience of showing your work can be intimidating, you never know who is going to love or hate your work, but I have always enjoyed the opening nights, listening to people and watching them interact with the work. It’s remarkable how each person’s perception of an artwork is so different. Oh, and I heard that Chopper bought one of my pieces… that was pretty cool.
On that subject, last years duo show with Beth Van Hulst, Her Story, looked remarkable – how did the idea to create a show around portraits of women in literature come about, and how was the show received?
We both love to read and thought it was a great theme for a show, we have both had great feedback and it might be something we will revisit in the future. Much of my inspiration flows from the words in songs or books and the body of work I’m currently working on is inspired by the work of writers from like Edgar Allan Poe, John Keats, Tennyson, Shakespeare and Greek tragedy.
You’ve also worked on a fair few walls over the last few years – the pieces you’ve done with Cam from Serif Visual, and the Call Me Madam work with Elise Waterhouse is all pretty stunning – how does this type of work differ from what you do in the studio, and what do you love about it?
I love painting outside! The freedom in the physical size of the work is very liberating compared to working on a canvas and the fact that it’s free to public view is the best part of making art. There will be more walls!
Do you often translate, or do you get much of an opportunity to translate, much of your work into the commercial world? Does the marketing of it into that area appeal to you?
I think my work could translate well into the commercial world, I have not had a lot of experience in this, but I would love to move in that direction.
Well, I am working on a body of work at the moment; it’s exciting to be preparing for a show again. No details yet but I will definitely be aiming to have a solo show very soon – I’ll keep you posted …
Check out more of Aidas amazing work on her website!