LJUBLJANA | SLOVENIA
In the realm of colors, faces, and emotions, artist Natalija Pavlović, known as NatArt, conjures miracles on canvas. Her paintings are not just portraits; they are souls brought to life with acrylic paints. Her art is more than just a creation; it's a journey through the human essence, where each hue tells its own story. Welcome to Natalija's world of colors, where each painting carries an invisible message, and every portrait serves as a window into a unique realm of emotions.
In this candid and inspiring interview, we will truly delight in delving into the deeper layers of Natalija's artistic creations and soul.
How did you discover your passion for painting and portraiture? Is there a special moment or story that marked your entry into the world of art?
To the best of my recollection, I have always had a love for drawing. As a child, my first inclination was to draw animals, particularly horses. I had a notebook dedicated exclusively to horse drawings. It wasn't until later, during the second half of my elementary school years, that I stumbled upon the joy of drawing portraits. This resonated with me the most, and I rapidly excelled in my art classes. Throughout the years, including my time at the Faculty of Architecture, I exclusively worked with pencils. The venture into painting began during the pandemic when I had to temporarily set aside dancing due to a recurring leg injury. It was then that I rediscovered my passion for drawing and painting. I initially purchased a simple acrylic paint set, merely with the intention of giving it a try. In the end, this trial painting, entitled "Dona," found its place on my bedroom wall.
If you could represent each emotion with a color, which color would symbolize happiness, and which would signify sadness? How do these colors influence your portraits?
That's a thought-provoking question. The majority would likely claim that happiness corresponds with vibrant colors such as yellow, which is sensible given its vivid nature. Yellow also evokes thoughts of the sun, which undoubtedly enhances our well-being and mood. It's an exuberant and energetic color that fills us with vitality. When it comes to sadness, I would say black, and on a personal note, primarily gray. Black carries multiple connotations beyond just negativity; it's also associated with elegance, mystery, and depth. For me, red symbolizes happiness, while gray represents sadness. This contrast is particularly evident in my paintings, where I've utilized shades of gray as the backdrop for portraits of individuals with somewhat somber expressions. It conveys the essence of rainy and melancholic days. I chose the color yellow for Freddie Mercury's portrait because he was a person brimming with exceptional energy.
Where do you primarily draw inspiration for your works in everyday life? Is there something specific that motivates you to pick up the brush and canvas?
Absolutely. As you may have noticed, I predominantly paint portraits of renowned figures and individuals who have left a lasting impact on me, whether recently or in the distant past. I've always been fascinated by people's life stories, their journeys to becoming who they are. For instance, I had limited knowledge of Freddie Mercury before watching the movie "Bohemian Rhapsody," and it was only afterward that I became more intrigued by the kind of person he was and the motivations behind his success. Marilyn Monroe, whom we typically associate with laughter, fame, and a glamorous lifestyle, led a life shadowed by its darker aspects. Consequently, I provided her portrait with a black background and a golden shimmer, symbolizing the golden age of Hollywood. My initial painting, "Dona," features a red and pink background. Red symbolizes her passionate side, while pink embodies her more delicate, affectionate side, leading me to depict her as a gentle, fluffy cloud. Notably, one of my standout projects is "Anastasija," a portrait of Svetlana Ražnatović-Ceca's daughter, ( a Serbian folk singer ). This is likely one of my favorite portraits as the reference image I found perfectly captured the emotional nuance I sought to convey. I aimed to paint the face of a younger generation, an up-and-coming star known for wearing her heart on her sleeve. For this reason, I refrained from assigning a specific background color to her, instead choosing to depict the gentle fluidity of the wind, mirroring the essence of the reference image, which was essentially a clip from her "Promašena" music video. This approach allowed me to maintain the authenticity of the image.
What does your creative process entail? Do you have any rituals or steps you adhere to whenever you commence a new painting?
Indeed, I follow a distinct process. It all commences within my mind, with the person who occupies my thoughts at that moment or one who has left a lasting impression. I record their name, and I aspire to transform their portrait into my artistic creation. Following this initial inspiration, I embark on a quest to locate an image that I believe best encapsulates that individual. This image may be a candid shot from a performance, their most iconic pose, or preferably a portrayal that isn't overly iconic but captures their authentic essence. My objective is to depict them as private individuals rather than public figures. This process then proceeds with sketching on the canvas and subsequently transitions to the painting phase. My foremost concern is the matching of colors to achieve the correct skin tone, as it constitutes the most critical aspect and lays the foundation for shading. Once I'm content with the base skin color, I commence with my favorite part, the lips. Typically, I commence with the lips. The final element to address is determining the background color, a decision I typically make when selecting the reference image.
Your backgrounds often assume a significant role in your portraits. Could you elucidate how you select the background and its connection to the individual in the portrait?
Of course. Once I've chosen the individual I intend to portray, the selection of colors becomes an extension of that choice. Through colors, I accentuate what I aim to convey through their facial expressions and gaze. I introduce a color that I believe aligns with their character and incorporates a unique detail linked to the individual. For me, the portrait's background serves a role analogous to the saying "The eyes are the windows to the soul." What is concealed externally manifests itself in the eyes. In my context, it is concealed behind the visage—the background color. It serves as a mirror to their character.
Can you share an experience of working on a particularly challenging portrait? What made it demanding, and how did you overcome those challenges?
Undoubtedly, Freddie Mercury! It proved to be one of the initial paintings, and his distinctive facial features, particularly the jawline, presented a genuine challenge in capturing an accurate likeness. I must admit that there were moments when I felt like giving up and discarding the painting. It's not uncommon for artists to experience what some refer to as the "ugly stage of painting," a phase in which the subject doesn't resemble themselves until the most crucial shadows are added. Nevertheless, after several days of contemplation, I decided not to abandon the project. I felt that doing so would amount to squandering the invested time, and above all, I would be disappointing myself, as I was genuinely determined to paint him. I am now grateful for the decision, as it has become one of my most recognizable portraits.
If I'm not mistaken, you recently exhibited at ArtExpo Ljubljana. What were your impressions? How does the audience react to your paintings?
Yes, that is correct, and I am thrilled to have been part of such an event. My impressions of the exhibition are highly positive. It afforded me the opportunity to meet many diverse and talented artists.
Stay connected with Natalija to explore more of her artwork on Instagram: @natart_____ and visit her website at www.natart.si
Photography: Private Archive of NatArt, Natalija Pavlović