INTERVIEW: "Flora Botanica" ARTISTS

INTERVIEW: “Flora Botanica” ARTISTS

[ Exclusive Interview ] ARTIST Jean Bosphore, Mevlana Lipp, Mirza Cizmic, Sabrina Piersol

Jean Bosphore

1. What three adjectives would you use to describe yourself, and why?

Jean: The three adjectives I would use to describe myself would be demanding, generous and ambitious. It’s hard to describe why although it seems very explicit. Demanding in my relationships, my work, life… Generous because with this demand I like to know how to appreciate life and simple things sometimes. Generous in friendship, in love… Ambitious because you have to be?

2. Can you talk about your upbringing? Were there any specific experiences that inspired you to become an artist?

Jean: I grew up in a fairly traditional family, working class from a rather popular background. My father worked a lot. I always liked creating with my hands, from drawings, paintings or objects. Having been shy and reserved, I always needed to express myself differently. So, I would say that it happened naturally. I never had the pretension of telling myself that I would become an artist, I didn’t even know that it was possible…

3. Besides painting, what else do you do in your daily life?

Jean: Haha my daily life, I’m obsessed with music. So I search and listen new songs, artists etc. Also swimming pool (I love/need that), I read books and watch movies. At night I see my friends, we have drinks and smoke (too much) cigarettes haha.

4. Do you remember what your first piece of artwork was? What were your thoughts at that time?

Jean: I don’t really remember my first piece of artwork but I remember of a drawing that I felt special. I mean, not because I thought it was special, but because of the people telling me that is was great. So I got confident and I kept going but with more an idea of making something with my art, not only for me anymore.

5. Is there a particular piece of work that is especially important to you? Why?

Jean: Hum, I would say « Noon rendez-vous » . It is actually my first (acrylic) painting. I was tired with black and white drawings so I needed something new. I wanted new point of view, new colours, new medium, new all. And because it is the first one, there’s some naive aspect that I love about. I still try to re create these naives specialities but I can’t…

《Noon rendez-vous》

6. Your works often reflect daily life. What moments in life inspire you and are captured in your works?

Jean: I like boring moments. Boredom, lonely and melancholy moments

7. Why did you choose to use rounded wooden boards instead of canvas as your medium?

Jean: I chose wooden panels because I wanted to be able to create any shape, any size I wanted to. Also because I love wood, I love create objects, things with wood. It’s vert sensitive and sensual material to me. Moreover, the shape of rounded angles is inspired by futurism design. Luigi Colani is one of my favorite designer. It is also to make a reference to digital images.

8. Are the figures in your works based on real people? Do they have any symbolic meanings?

Jean: The characters in my paintings come from different references. Some silhouettes are from photos that I take myself. From friends, or from photos that I took in the past. Others are “stolen photos” on Instagram or Pinterest. So, I reinterpret them and transform them in a certain way. I like to be able to use images that already exist. Sometimes there is a certain spontaneity in the position or action that is impossible to reproduce from a classic photo shoot.

So this work of searching for images to steal is exciting because it also gives me a lot of ideas. Sometimes I have a very precise idea of the silhouette or the attic that I am looking for. But the fact of looking for an already existing image makes me explore hundreds of other photos, which also gives me a lot of ideas. I bounce back until I find the perfect image.

9. Why do flowers frequently appear in your works? What is your favorite flower?

Jean: Flowers are very present in my work, indeed haha. I don’t really know why to tell the truth. I think flowers bring a certain sensitivity, a certain poetry. They seem so fragile, sensitive and ephemeral to me – it touches me a lot.

Hard to choose hehe. Pretty obvious but tulips? Carnations?

The two paintings I made for Artemin are very inspired by my last stay in NY. I wanted to represent an energy that is both New York and very European. The first painting in the subway is initially a photo of a paparazzi photographing Jeremy Allen in the street. He went to buy flowers, I found this image poetic and touching. So I positioned him in the subway, alone, and I wanted to make the moment solemn. Jeremy Allen being a model I integrated the Calvin Klein campaign that he recently did on the rooftops of New York, like a random ad. I love the city and the anonymity it creates. Blended into the crowd, boredom, solitude.

The second represents a bicycle courier who delivers flowers.

I found it fascinating the number of flower shops/merchants in the city. People consume flowers like they consume a frappé coffee haha

Well in this one I put everything I like: the bike, the couriers, the flowers and the guys! Indeed, I have a passion for the bike (in addition to the swimming pool). The couriers too, I find that they are always sexy!

I like the contrast between the character on the bike, the speed, the action (but alone) and the boredom in the other two characters. The boredom of being young. And these flowers so fragile and sensitive transported at high speed.

10. The compositions and poses in your works often resemble different camera angles (sometimes close-ups of parts). Why do you choose this compositional style?

Jean: So the work of composition and point of view is very important in my work. Indeed, there are certain interpretations to all that.

I worked for a long time with a false perspective. Called axonometric perspective, or cavaliere. This surely comes from my passion for the whole de Stijl movement. With artists like Theo VanDoesburg or Mondrian. I was fascinated for a long time by this schematization of the image.

Also, I often justified this axonometric point of view (from above) as if it were from a surveillance camera. There is something quite intimate, as if we were watching forbidden. Seeing without being seen. The viewer feels almost privileged.

So I play with this camera and depending on the angle and the zoom the image appears.

In the paintings I created for Artemin, I wanted something more linear. More inspired by cinema. Having a very horizontal plane reminds me of Wes Anderson’s planes.

11. Why does pink colour often appear in your works? Does it have any special meaning?

Jean: Pink has an important place in my work indeed. I love playing with clichés.

So, since I like to represent virile, muscular and masculine guys, I find it interesting to put them in relation with a pink, girly environment. Even if I would like there to be no more stereotype on this subject: blue for boys and pink for girls. In the meantime I’m having fun with it.

Also pink is one of my favorite colors, as simple as that hehe

12. Are there any fields in art that you want to try but haven’t done before?

Jean: Well yes, I still have a lot to explore!

Passionate about music, I would like to do it, at least learn to play an instrument.

But the work towards which I am going very slowly, which I see for the moment as the culmination of my approach is sculpture.

Having started with drawing, on paper. I feel that the more the years go by and my work progresses, I am going more and more towards volume. I want more and more to touch materials, to experiment etc …

For the moment this work is limited to frames. It is a way of using my knowledge in design. Thus a way of creating a link between my painting and the outside, the object.

13. Have you ever encountered a creative bottleneck? If so, how did you overcome it?

Jean: To tell the truth, never, haha

It may be pretentious but I find life so rich that it inspires me every day. And then it is also a need, to create, to draw, to think…

There are so many things to read, to watch, to listen to, for the moment I am not lacking haha

14. Braun audio equipment, like the Wandanlage or RT20, frequently appears in your paintings, such as in Noon rendez-vous and Citronnade. We’re curious—what inspired this choice? Could you share more about it?

Jean: I love the history of design in its entirety. I studied product design so it’s something I love. I like to integrate the object into my works. Designed or not Concerning Rams, he is one of the designers I admire the most. I find that his design was so radical, so pure and so beautiful. The idea of ”less is more” is a notion that I try to apply sometimes in my work haha. I like its simplicity, its efficiency, there is something very audacious. As I admire Malevich for generating a work like “Black Square on White” – which can seem so simple, so pure, but so effective and powerful.

Another designer I love is Luigi Colanni, paradoxically

With a much more futuristic design, streamlined in very organic forms. The shaping of plastic also fascinates me…

The fact of representing Wandanlage or RT20 is a nod to music, which I love and which punctuates my days.

Mevlana Lipp

1. Which three adjectives would you use to describe yourself? And why?

Mevlana: I would describe myself as *emotional*, *curious*, and *diligent*. I don’t know why but it certainly is the reason why I do what I do. My work is deeply influenced by emotions and the natural world, and I strive to create pieces that feel alive and excite myself.

2. Could you talk about your upbringing? Are there any specific experiences that inspired you to become an artist?

Mevlana: I grew up in a small village in Germany, surrounded by nature from a very young age. This environment had a profound influence on me, instilling a fascination with the natural world that has carried through into my art. The experiences of exploring the outdoors and observing the intricate details of plants and ecosystems are central to my artistic inspiration.

3. If you weren’t an artist, what profession would you choose? And why?

Mevlana: If I weren’t an artist, I might have pursued a career related to biology or environmental sciences. My deep interest in flora, fauna, and the complexities of ecosystems has always driven my curiosity, and I could see myself working in a field that allows me to study and protect the natural world.

4. Apart from painting, what do you enjoy doing in your daily life?

Mevlana: Beyond painting, I enjoy reading, archery and being a father to my little daughter.

5. Do you remember what your first piece of artwork was? What were your thoughts at that time?

Mevlana: The first things I remember painting when I was a child were animals. I particularly remember painting an ostrich with a giant egg. I was around 4-5 years old and saw documentation about them and was fascinated that an egg could be that big.

6. Is there any piece of your work that holds particular significance for you? Why?

Mevlana: They are all significant to me but some works mark a step to something new. These are works that are kind of special for me because they remind me of the growth of my work.

7. Your signature style includes dark backgrounds paired with neon, glowing tones of flowers or vines. What atmosphere are you trying to convey with this approach?

Mevlana: The dark backgrounds combined with glowing, neon tones create a sense of mystery and otherworldliness. I aim to evoke an atmosphere that feels both familiar and surreal, like stepping into a dreamlike version of nature where emotions and subconscious thoughts are given form.

8. Plant forms are a recurring theme in your work. What is your favourite plant? Is there a plant or flower that you feel best represents you?

Mevlana: I don’t have a single favorite plant, but I am drawn to those that embody both fragility and resilience. These plants often appear in my work as symbols of growth and transformation. They are stand-ins for human emotions.

9. Have you ever experienced a creative block during your artistic process? If so, how did you overcome it?

Mevlana: Creative blocks are inevitable, but I usually overcome them by taking a step back and doing something different for a while.
Whether it’s through a walk in the forest or simply observing plants and animals, reconnecting with the source of my inspiration also helps me find my way back to creativity.

Mirza Cizmic

1. Which three adjectives would you use to describe yourself? And why?

Mirza: In the context of art I am …

Positive:

Despite the challenging themes I often explore, such as trauma and memory, I maintain a sense of hope and resilience. My work is a testament to the idea that even in the face of adversity, one can find meaning and growth. This positivity drives me to keep creating, always looking for the light within the shadows of the past.

Analytic:

My artistic process is deeply analytical. I dissect complex emotions and memories, exploring how they interconnect and influence one another. This analytical approach allows me to create work that is not only emotionally resonant but also intellectually engaging, inviting viewers to contemplate and interpret the layers of meaning within each piece.

Hardworking:

I am constantly experimenting with new techniques, materials, and ideas, pushing myself to evolve as an artist. This dedication to my craft requires a strong work ethic, as I am always striving to refine my skills and expand the scope of my work.

2. If you weren’t an artist, what would be your dream profession?

Mirza: If I weren’t an artist, my dream profession would likely involve something deeply connected to human experiences and emotions—perhaps a psychologist or a writer.

As a psychologist, I could explore the complexities of the human mind, helping people navigate their inner worlds and find healing. This aligns with my artistic work, where I often delve into themes of memory, trauma, and identity.

As a writer, I could use narrative to express and explore the same themes that inspire my visual art. Writing offers a different medium to communicate the stories and emotions that are central to my work, allowing me to reach people in another profound way.

Both professions would allow me to continue my exploration of the human condition, something that drives my art every day.

3. Do you remember what your first piece of artwork was? What were your thoughts at that time?

Mirza: I vividly remember my first piece of artwork. It was a simple drawing I made as a child.

I remember feeling a sense of accomplishment, realizing that I could communicate something visually. This early experience ignited a passion for exploring deeper emotions and complex themes through art, which has stayed with me ever since.

4. Is there any piece of your work that holds particular significance for you? Why?

Mirza: Yes, one piece that holds particular significance for me is from my “Stolen Memories” series. This body of work is deeply personal, as it explores the fragmented and often memories from my childhood. One specific piece, titled “Metamorphosis,” stands out because it captures a moment related to my character and defines me as an artist.

The significance of this piece lies in its ability to transform personal pain into a universal narrative.

5. Have you ever experienced a creative block during your artistic process? If so, how did you overcome it?

Mirza: Yes, I have experienced creative blocks during my artistic process – moments when inspiration seems distant, and the usual flow of ideas just isn’t there. These periods can be frustrating, especially when there’s a strong desire to create but the work doesn’t come together as it should.

Sometimes, the best way to move forward is to take a break. I step away from the work, allowing myself time to reset. In some cases, instead of fighting the block, I sometimes choose to embrace it. I allow myself to create without the pressure of perfection, accepting that not every work will be a masterpiece. This approach often leads me to unexpected breakthroughs.

6. In your painting “Drawing on the Yellow Wall – I Love You, Sebastian Pijeta,” the characters are reminiscent of Michelangelo’s “Pietà.” Why does this association arise? What story does this piece aim to tell?

Mirza: In this painting, the reference to the “Pietà” is not just a nod to classical art but a way to bridge the past with the present. The story told through this piece revolves around personal loss, love, and the intimate connections we form with one another. By placing these themes against the backdrop of a yellow wall—a color often associated with warmth and optimism—I seek to create a space where these heavy emotions can coexist with a sense of hope and renewal. By incorporating “ flowers drawings” into the scene, I aim to evoke a sense of nature and the fleeting moments of beauty and connection we experience. In essence, the flowers are there to enrich the narrative and emotional depth of the piece, offering viewers multiple layers of interpretation and inviting them to find their own meanings within the artwork.

7. What story is being told in the piece “Stolen Memories”? Why is there a scene of a fire? Who is represented by the figure in the frame?

Mirza: “Stolen Memories” painting seeks to evoke a sense of nostalgia while also addressing the broader implications of how we deal with the memories that define us. The scene of a fire in the painting symbolizes destruction and the consuming nature of change. Including THE PLANT in my paintings I wanted to represent the idea that, despite destruction, there’s always potential for a new beginning.

Sabrina Piersol

1. What is your background? Has this background influenced your path to becoming an artist?

Sabrina: I grew up in an environment filled with art, where my mother, a highly creative artist, adorned our home’s walls with her beautiful murals. Deeply influenced by her, I turned to art whenever life felt chaotic, using it as a path to find peace and strength. As a teenager, I was captivated by film photography, capturing fleeting moments through the lens. However, after majoring in Fine Arts and Classics in college, I gradually fell in love with the expressive potential of painting.

Even after graduating and starting a full-time job, art has continued to hold an essential place in my life. Now, my work at the museum allows me to enjoy the solitude and depth of creative practice while staying connected with others. In balancing artistic creation with social engagement, I’ve found a harmonious equilibrium. For an artist, this life is a full-time commitment, one that demands constant dedication, wherever and whenever.

2. Are there any artists you admire? Have they inspired your work?

Sabrina: Inspired by “The Transcendental Painting Group (1938-1945)” exhibition I saw last year at LACMA, particularly the works of Agnes Pelton and Georgia O’Keeffe, I began to explore dialogues with many contemporary artists through my work. These artists view their creations as a medium for communication, seeking to establish a connection with viewers through their paintings. Realizing this was a valuable experience for me.

3. Can you please share the development of your artistic style?

Sabrina: In the past, I focused on abstract painting, but after delving into the content and structure of the poems by the ancient Greek poet Sappho, I completely rethought my creative concept and framework, aiming to strike a balance between natural elements that suggest meaning and pure abstraction.

Sappho’s poetry, presented in fragments, depicts scenes from nature. These verses, recorded on damaged papyrus and pottery shards, are filled with gaps and unexplained parts, leaving space for interpretation, and allowing readers to reflect, imagine, and project their own experiences into them. Deeply captivated by these incomplete yet fluid and beautiful poems, I began to integrate this idea into my work. My goal is to create more concrete pieces that, without being deliberate, retain space for viewers’ self-projection, building a bridge between reality and abstraction and offering room for contemplation.

4. Do you remember your first creation? What was it like?

Sabrina: The first painting I ever remember learning about and being inspired by, besides my mother’s paintings, was Marc Chagall’s I and the Village. I think you can see how Chagall’s energetic combinations of natural elements and abstraction that create formal tension directly inform my work.