Interview with Marta Prominska
What were your earliest influences in art, and how have they shaped your unique approach to surrealism and hypnagogic art?
My painting teacher was a pointillism artist, while my favorite painter is Rubens... I think Surrealism grew up inside me on its own. I have studied great master’s techniques, read a lot about art and searched for my own style. And then I realized, that my work doesn’t fit anywhere, so I created Hypnagogic world: neither contemporary nor traditional. Something in between.
Can you walk us through your creative process? How do you transition from an initial idea to a finished piece in oil painting or ink graphic?
My creative process often starts in dreams. There, an image, a character, a situation or a face usually appears, which I have in front of my eyes for so long until I paint it. The image before draw or painted can take quite a long time to mature. This is a very important stage of creation, which involves focusing energy on what is to be painted. Then I prepare the canvas: I paint the background, often I cover the canvas with my favorite dye which is Van Dyck bronze. Then I paint based on preliminary sketches. I like to paint while listening to music, usually the work of my husband or classical music - Penderecki, Górecki.
I use classical techniques that require time and effort - I lay down glazes, I use resins. Never turpentine. This strategy makes the color more luscious and full. When finished, I cover the whole work with glossy varnish.
In your opinion, how does your work contribute to the modern surrealistic trend? What do you believe sets your art apart in this genre?
I think what distinguishes my art from the modern surrealist trend is the role of emotions. The emotions that the images evoke and the lack of conservatism in the message, so characteristic of the mainstream semi-modern trend. Contemporary art also often aims to take shortcuts by applying paint straight from the tube (which is absolutely great and creative). I rather to spend time looking for the right color, studying dyes. Nowadays we have great access to art through social media, for example, and there are many inspiring and talented artists out there. I watch with curiosity as they develop their approach to surrealism. Another thing is that my paintings are often supported by texts, short poems. I have written “Hypnagogic Art Manifesto” about condition of contemporary art, the role and concept of creation. Manifesto contains also words about the need of changing the definition of value and freedom. Text emphasizes the need for art to act, affect, ‘scratch the marrow of emotions’.
You emphasize the importance of 'bare emotions' in your work. Could you elaborate on how you capture and convey these emotions in your paintings and graphics?
I try to make my work evoke bare emotions in the viewer, and as such I try to convey as much as possible in understatement leaving space for the viewer's imagination to work. The eyes are the key to the soul of the painting, or – sometimes- the absence of them. There is also a lot of longing, sadness and grief, emotions so close to each of us.
You've mentioned that a painting shifts its meaning once a viewer appears. How do you anticipate?
I do not anticipate or incorporate the viewer's perspective in my work. If I took the viewer into account when creating, it would be an attempt to impose a thought or idea. Here I leave the field to the viewer and their emotions. I like to listen or read about people’s interpretations, the meanings that they find in my paintings. The fascinating thing about it is that , they are different for every person.
How did you develop the philosophy behind your hypnagogic art, and why do you find this concept so compelling?
Hypnagogic art is that which comes from the world in the corner of the eye, on the border between dream and reality, somewhere in between, in the truest and closest reality to ourselves. It is the delusion or truth, the line between consciousness and reality, the area where our subconscious begins to operate. Hypnagogic art, then, is that which touches our emotions truly without linking them to us common.
What draws you to oil painting and ink graphic as your primary mediums, and how do these mediums help you express your artistic vision?
Let's start with oil paint: it is an excellent medium that has full colors and is the only one that allows for depth of dye. Moreover, the oil technique allows the painting to mature while being created, making changes. For example, the painting 'Beyond the Gates' originally contained two more figures. Ink, on the other hand, is very graceful - I make graphics with a Pilot Falcon pen with a nib shaped like a bird's beak, which allows you to draw with the top of the nib, and that gives amazing results. I like to match the ink to the paper, hear the sound of the nib scratching the surface of the sketchbook. There is something mesmerizing about this. I tend to use Japanese inks for my graphics because of their flow and the pigments used.
What have been some of the most challenging aspects of developing your artistic style, and conversely, what achievements are you most proud of?
The biggest challenge for me, the most difficult and yet what I am most proud of, was the Oneness project, when I combined my art with my Husband's music. We made animations for my paintings and each of them had a dedicated symphonic piece o music. I released an album for this project along with a vinyl record, it was a huge challenge, a new experience and a great feeling of fulfilment. But what was the most difficult was the revealing personal, very intimate process of combining our joint creative process.
Based on your experience, what advice would you give to aspiring artists who wish to explore surrealism or develop their own unique style?
The advice I would give to any artist is to explore a lot, to look for yourself and make art with a message, art that has some meaning. And to study graphic or painting techniques. The workshop is very important; once you have mastered it you can express a lot more and in a freer way than if you don't have the skills.
Are there any upcoming projects or exhibitions that you're particularly excited about? Can you give us a sneak peek into what themes or concepts you might be exploring next?
This year I'm planning a visual arts project. I also have a triptych, a three-part painting on my easel, started to paint the cover of one of my favorite bands. I have been offered exhibitions in London, New York and Vienna. Time will tell where my paintings will end up, where hypnagogic art will appear. Stay tuned!
