Eloosh is a London-born painter of Iranian descent. Author of a sensitive language, she is able to explore a spiritual world made of emotional shades both through her female portraits and her abstract compositions. Accurate observer of the contemporaneity, the artist is deeply interested in current problems, such as racism and gender equality. Her art is also a therapeutic process through which we can analyze the relationship and the continuous exchange between our inner and outer realities.
In the following interview, we have the possibility to discover the origins of her creative process and understand the impulses, and the influences, that give shape to her work.
We use to start from the bottom, let's talk about your relationship with art and, in particular, the development of your personal artistic language.
My art-work is a direct reflection and representation of the psychological journey and mental process I had gone through - specifically in the past 2 years - and how I tried to comprehend all the feelings and emotions that played a huge role in me finding myself and my inner strength to subconsciously fight against all negative mental thought processes. My artwork is a means of therapy for my soul as I find a way to heal all wounds through creative analysis. There are 2 main themes in my artwork: a) Mental health; b) Women empowerment - both of these themes interject with one another throughout my pieces, to display a sense of fragility against a robust mental state. The colours that inspire my work allows for the same fragile component to express a longing strength from within that begins to project itself through a deep spiritual journey.
Tell us more about your influences. What inspires you?
Since my teenage years, one of my biggest influences was Jenny Saville. The way in which she applies brush strokes to intensify the effect of how she depicts the human form, is one of the many ways that her work has always inspired the perspective I have when analyzing the human body - specifically the female form and how you can shatter ideologies, taboos and boundaries regarding societal and cultural "values" in relation to women. Through Saville's work, in more depth, I began to fully be conscious of how the use of colours and tones can give effect to the emotion and message behind the painting itself.
I tend to always draw upon and be inspired by my own experiences in life. If one takes a deeper look into my work, they will be able to comprehend the different emotions and feelings that took part during the moment the painting had been drawn; the tones and brush strokes that I apply reflects the intensity or softness of the sensation within the image itself.
You are able to range from figurative art to abstractionism/fluid art. How would you explain this kind of productive heterogeneity?
Art has always played a therapeutic role in my life - I have tended to go back and forth between painting figurative and abstractionism depending on the state of my conscious or unconscious thoughts, feelings and ideas about a particular experience. For every artist, I'm sure that, there are a variety of reasons that sway them towards different concepts within the art world - mine has been more of the current sensation and energy that would run through my body at the given time I was inspired to paint. By analyzing my own work, at times, I could conclude that at more complicated scenarios of my life I was able to show the intensity of my emotions through the brush strokes and different tones I would utilize through figurative paintings, and in contrast displaying a more freeing and soothing spirit through my abstract pieces.
The creative process is always intimate and, for this reason, interesting. What is the hardest part of creating a painting? How do you know when a work is done?
I believe the hardest part to be the end. Throughout the painting process, there is a sort of paradox you enter into, to which you let go of all energies, thoughts and barriers of your everyday life; it is a healing process that you allow yourself to participate in, no matter how vulnerable you might be, and in return you begin to sense this feeling of liberation. The moment that all ends, is the moment you realize that you have allowed the rest of the world to pay witness to how your mind, body and soul works - and that in itself, to be able to share a vulnerable side of you, is the hardest part of all.
I would have to say that, as an artist, you never really 100% know when a painting is done. You go back and forth, back and forth, always criticizing and changing and perhaps even go through phases and days of not liking what you have painted, however there always comes a time that you grasp this feeling of letting go - you take a step back from the painting and realize that you have released whatever emotional connection you had with it during its process and are content with the result.