Welcome! Swipe down to see the interviews

1.Origins: What's the story behind the inception of your journey in the arts?

From a young age, I have been creative and had many opportunities to find a channel for this creative need. I applied to all kinds of creative work when I was growing up, acting and singing, but it wasn't until after studying fashion design in my twenties that my interest in visual arts began to take shape in something real. Certainly this formal world had reached me when I was growing up because it was easy to let my mind wander and see colors and shapes in nature all around in the north coast of Iceland where I lived. And when I saw paintings or other works of art as well as various man-made forms, my interest was piqued. I studied art in my twenties and thirties and quickly found that abstract works suited me best.

2. Muse: From where do you draw the inspiration for your abstract creations?

Architecture, nature, art history with works of minimalism, mathematically structured forms, hard-edge paintings and geometric forms.

3.Palette & Form: What is your approach to choosing the palette, shapes, and textures in your artwork?

All of this is in a certain flow and colors, materials and shapes are chosen based on the mood that is intended to be captured with the works.
4. Craftsmanship: Are there specific techniques that you favor in the crafting of your abstract pieces?

Not really, I leave it to the subject at hand. I work with smooth or rough textures on canvas or plywood either with oil or acrylic. In the three-dimensional works, the materials include aluminum, iron, glass and plywood.


5. Influences: Does any particular art movement or style resonate with you and influence your work?
Minimalism , Constructivist art, hard-edge painting, Suprematism

6. Artistic Method: How would you articulate your creative methodology? Is it guided by a structured plan or more by spontaneous instinct and feeling?

It’s a bit of both. I usually start by making sketches before starting a painting or a 3D work, but of course the preparation is longer as the mind is constantly active because creativity colors all daily life.


7. Expression: Through your abstract art, what messages or emotions are you aiming to convey?
First of all, the flow of emotions and colors evoked by shapes and colors, which varies from artpiece to artpiece. The viewer's personal vision and experience is important, as it is a conversation between me as an artist and the audience, and it can be of all kinds. The formal approach is poetic mixed with calculated precision intended to find some balance between the subjective and the objectified.

8. Admiration: Are there contemporary artists whose work you find particularly compelling or inspiring?
A lot of great  contemporary fascinate me today from the younger generation and preferably those who differ from my artistic approach. If I have to name someone who is from the older generation, it would be Frank Stella and Bridget Riley.


9. Obstacles: Can you share some of the hurdles you face in the process of creating your art and how you navigate them?

Mostly if I'm trying a new material that I get stuck and have to keep trying until I'm happy with the result. As far as the artistic grasp when I´m working on ideas until it’s an art piece it is important to be somewhat organized because time is precious and that is my main threshold in artistic creation, that is to have enough time.


10. Vision: As an abstract artist, what are the aspirations or dreams that fuel your creativity?

Creating is an inner need that is immensely rewarding regardless of whether or not it comes with a lot of financial gain. Completely spontaneous with no other expectations than to get diverse opportunities to exhibit. It is important to me to keep the freedom and independence as an artist and my dream is to have more opportunities to show elsewhere than in Iceland where I live.




11. Horizon: Are there any upcoming projects or ambitions you're eager to bring to fruition?
I am always looking for opportunity to present my art whether it be online or galleries. Right now I prefer to make works that are both colorful and three-dimensional made with acrylic paints on plywood. And I intend to continue that direction and am excited for the future where it leads me. I will be participating in a large group exhibition this fall and have other plans that will hopefully come to fruition in time.

The beginning: Could you tell us how you started your artistic path?

I started painting in 2020, during the Covid confinement.  I am a curious person and that is why I approached painting mandalas by watching some tutorials on YouTube.  It was a meditative painting, painting is ultimately a form of meditation, it gives vibrations and sensations but also peace and tranquility.  Later I moved on to abstract art.

● Inspiration: What is the main source of inspiration for your abstract works?


I have not yet found a real direction for my painting and there are no particular sources of inspiration, I let myself be carried away by instinct or by what, looking around me in everyday life, awakens my interest.  And then I open my colors and start. Even the choice of colors, shapes and textures is instinctive.  I choose from time to time, trying to combine colors that can have a pleasant visual effect.

● Choice of materials: How do you select colors, shapes and textures for your creations?
What techniques do you prefer when creating your abstract works?

I use acrylic colors, which lately I mix with other materials such as plaster.  I start by preparing the background of the canvas or wooden panel, spraying a little water on it to then make the application of the acrylics more fluid and then I observe and from there the colors begin their journey made of instinct and emotion.

I would like those who approach my paintings to feel the same emotion as me and try to work on their imagination.


● Artistic influences: Are you inspired by any particular artistic movement or style?

I love Keith Haring and Mirò but all the greats of contemporary art are a source of inspiration.

● Challenges: What challenges or difficulties do you encounter when creating your abstract works and how do you overcome them?

Obviously I make mistakes, as we all think, or things that do not satisfy me but I always try to recover the canvas or the wooden panel, changing the arrangement of the colors or the idea if it exists.

● Aspirations: What are your goals or aspirations as an abstract artist?

I do not have excessive aspirations, more than a painter I consider myself an abstract composer of colors.

It is a game and I like it a lot, then fortunately I have also had good comments at several exhibitions, including those organized by you, so it is undoubtedly an excellent incentive to continue.

The exhibitions in which I have participated have always been collective.

My wish is to be able, sooner or later, to organize a personal exhibition in person, to look people in the eyes in front of my works.

The Beginnings: Could you tell us how you started your artistic journey?

As a young girl, when I could access the studio where a family member, an established painter, worked on his canvases, I felt as if I were entering a poetic world, made of magic and beauty: the scent of oil paints, all those brushes and canvases leaning against the walls... seeing landscapes and portraits emerge from nothing: I felt as if I were in the world where I belonged. So, I embarked on a long journey of studies and experiences.

What is the main source of inspiration for your abstract works?

My inspiration?
There's something I need to say at that moment and I don't know how to express it in words: I have to paint it!

Choice of Materials: How do you select colors, shapes, and textures for your creations?

Following ideas or simply sensations, I choose among materials and techniques. I usually work on large sheets of paper and like to create my own colors, using pigments, water, and a binder, but I experiment with a lot of tools.

Challenges: What challenges or difficulties do you encounter in creating your abstract works and how do you overcome them?

The challenge is finding the materials that I feel are most suitable for the work I am doing, varying and combining layers with chalks, acrylics, enamels, or inks, inserting collages or small objects found on the beach...
Actually, abstract art allows a wide range of approaches, what matters is finding those that best suit your unique personality.

Artistic Admiration: Are there contemporary artists you follow or particularly admire?

If you ask me who my favorite artist is, I would make a long list, but let me just mention a few names, for example: Chuta Kimura, Ennio Calabria, Tracey Emin, Martha Jungwirth...

Aspirations: What are your goals or aspirations as an abstract artist?

For me, painting abstract works is like entering a huge undefined space where I search, among shapes and signs, emptiness and fullness, to find harmony and balance.
Failure is something I do not fear, because it's a given! But I enjoy the process and start over again.

Future Projects: Do you have any projects or dreams that you would like to realize?

At this time, I am working for some digital platforms and am preparing for an exhibition scheduled for next fall.
What else can I say? While I paint, I feel at home...

1) What was the catalyst that led you to devote yourself to art?

I've always been drawn to the world of art, ever since I was a child. When I was younger, I used to doodle on the edges of my notebooks, and art classes were my favorite. I often drew at home too, but it was my art studies, which introduced me to different artistic fields and techniques, as well as specific courses in oil painting, that began to make me appreciate painting in its own right and give me the desire to specialize. I very quickly wanted to work in this field, but those around me encouraged me to pursue more traditional studies, so my artistic career started late. In my youth, I rarely went to see exhibitions, as my circle of friends had little or no interest in this type of outing, and it was mainly thanks to my husband, who was also passionate about art, that I began to catch up and visit museums more often, whether in major French cities such as Paris and Nice, or in Europe. For a long time, drawing remained my favorite art form, and at one point I even wanted to specialize in comics and storytelling illustration. But preferring the freedom to create abstract compositions straight out of my imaginary world, I gradually turned to acrylic paint, which offers a thousand and one artistic possibilities, each artist being limited only by his or her imagination.

2) Where do you find the inspiration for your work?

I draw inspiration from what I'm feeling at the time I'm painting, although I like to enclose myself in a hermetically sealed bubble when I'm working. The world around me, nature, can also give me ideas, although I transcribe them abstractly onto canvas. I also sometimes listen to music while painting and let the melody guide me. Personal expression and spontaneity always guide my brush, even if, strangely enough, I try to create paintings in a variety of bright colors that convey positive feelings, as if through them I were trying to escape reality and reconnect with a feeling of carefreeness and the search for a certain beauty. While for some artists, painting can be a stressful activity, because of the desire to succeed and the high standards involved, for me it's a source of well-being and relaxation. It's as if I forget what's around me when I'm painting. Most of my canvases feature motifs and repetitive forms, but together they create an energetic, harmonious content. Each canvas is usually different from the last, as I like to experiment with new techniques and create unique compositions. Of course, being a subscriber to social networks allows me to discover new, very talented artists who can inspire me, just like my artist friends.

3) What tools do you prefer to use to express your art?

As for the tools I mainly use to express myself on canvas, there are: brushes of various shapes and textures, both flat and round, with soft synthetic or rougher bristles.  I also like to use paint knives, and sometimes experiment with different mediums to achieve particular effects on canvas. I often buy my materials in specialized art stores, although I sometimes use less conventional tools for this type of practice. Gesso is a primer that also comes in handy when I want to smooth the surface. I don't always use the same tools depending on the painting I want to bring to life, it all depends on my feelings and desires at the time, and on what I want to create. I'm also very interested in pouring and pastes that give relief, and I may turn more to these different mediums in the near future to experiment. I know that some artists use pieces of fabric for collage, sponges to create effects and gradations, or resin to give the canvas a shiny, smooth appearance; while the use of textile materials is less appealing to me, playing with everyday objects or DIY tools can be clever, and it's also a good way of diverting an object from its original function to recycle it. When I was a student, teachers used to advise us to rummage through garbage cans in search of ideas and materials for our art projects; it's more complicated to find things that interest us when we're just painting, but if you want to make an inspiration notebook, why not put down some finds that we can use later to imagine a future painting, like designers' moodboards.

4) What criteria guide your choices in combining colors, shapes and textures in your works?

Above all, I'm looking for a combination of colors and shapes to create a harmonious visual that's pleasing to the eye. Aesthetics are important to me, even if I know that some artists use painting above all to express an opinion about the world around them, current events or to denounce injustice. As far as my paintings are concerned, although they always bear a signature, I like to let my imagination run free so that I can invent a unique and beautiful composition, which will perhaps touch some of its observers. Improvisation is sometimes part of my creative process, depending on how I feel and what mood I'm in; a finished abstract painting allows each of us to possess the keys to its composition, according to our personal interpretation and sensibility; it has a universal language, and that's what I like.

5) What emotions or sensations do you seek to evoke in your audience through your art?

Viewers may be intrigued by the canvas: my aim is to catch their eye and make them want to pause in front of it, study it, contemplate it, let their imagination take the lead. Depending on their interpretation, which will be linked to their personal experiences, projections and feelings, this could enable them to see emotions arise in them, to let sensitivity seize them, a characteristic that can be seen as a weakness in today's society, but which I consider to be a strength. I'd love someone to see one of my paintings and say to themselves: beyond its aesthetic appeal, its content speaks to me!

6) What societal, political or personal issues fuel your creative process?

Isolation, fragility, love, grief, hope... Universal themes like these fuel my creative process. Evolving in my work is something important to me; you'll notice that the shades of color I use give all my canvases a positive, light-hearted feel: in this world where violence, selfishness and individuality are commonplace, I'd indeed like to offer people joy and a little happiness. Art is not one of our basic needs for life, but it is necessary for the mind to soften its sorrows, elevate it, sharpen its critical faculties and enable it to open up to what surrounds it. You'll notice that in countries where freedom of expression is repressed, all forms of art are often banned and condemned. I don't claim to be able to change the world, but I do like to think that art is a vehicle for emotions and remains a space where people can express themselves.

7) What models or sources of inspiration influence your artistic style? 

I love artists such as Gerard Richter, Joan Mitchell, Paul Klee and the Delaunay couple. I'm particularly interested in lyrical abstraction, expressionism too, even if my work isn't tinged with darkness, as well as orphism and abstract expressionism. More recent artists such as Julia Badow and Bernard Frize are models for me: I find their work absolutely magnificent!

8) How do you generate ideas and transform them into works of art?

Above all, I'm looking for a combination of colors and shapes to create a harmonious visual that's pleasing to the eye. Aesthetics are important to me, even if I know that some artists use painting above all to express an opinion about the world around them, current events or to denounce injustice. As for my canvases, although they always bear a signature, I like to give free rein to my imagination so that I can invent a unique and beautiful composition, which will perhaps touch some of its viewers. Improvisation is sometimes part of my creative process, depending on how I feel and what mood I'm in; a finished abstract painting allows each of us to possess the keys to its composition, depending on our personal interpretation and sensibility; it has a universal language, and that's what I like.

9) How do you overcome obstacles or criticisms that may arise in your artistic projects?

The obstacles I may encounter on my path are not surprising, I think that every artist has already experienced difficulties, the successes that can be seen on social networks, for example, are not representative of reality; a success can be born after a person has experienced several failures, it's experience that forges us and constructive criticism, we can learn lessons and learn, questioning ourselves to evolve and progress. Discovering new techniques, getting rid of automatisms and opening up to new fields of experimentation can be very enriching for an artist. Never rest on your laurels is one of my principles.

10) What studies or courses have you taken to further your art, and what are the defining moments or projects that have shaped your artistic career?

I've taken several general art courses that have opened me up to different art forms and allowed me to try out different tools, as well as oil painting courses. Learning to copy photographs or illustrations allows me to train my eye for observation and detail, and to develop patience and a certain rigor. In addition, to complete my curriculum, I also had the opportunity to follow specific training courses in oil painting, portraits and comic-illustration. I've also taken part in free painting workshops, which have given me a wealth of experience and quality.

For me, exhibitions are opportunities to challenge myself, address certain themes and move forward. I take advantage of each of these events to create new works, work on my technique, compare myself with other artists and move forward... Some art critics have helped me a lot and shed light on my evolution.

11) Is there anything else you'd like to share, any other aspects or curiosities about your art or yourself?

I'd like to thank GalleryOne962 for giving me the opportunity to showcase my work, and for the wonderful artistic springboard it has provided. In my opinion, each of us has a certain artistic sensibility that's just waiting to be expressed, and we shouldn't think that art is only for the elite. The whole of society must find in art the values of exchange and openness, communication and solidarity.

Emilie secured the ART PRIZE in November 2023 at the international virtual exhibition of abstract art, presented by GALLERYONE962

GalleryOne962 INTERVIEW with Daniel Ellingson of Soulution Art

Tell us about the beginning.
Art and music have both been a part of my life since my earliest memories. My mother earned her master’s degree in vocal performance at the University of Michigan. While working on her doctorate at Florida State University, due to the overload of being a full time student and single mother, she gave up her studies to get us by. Several years later she remarried and we moved to a small town just outside La Crosse, WI. She began teaching me piano at age 7, continuing to nurture my development in classical music and visual arts until high school. Drawing was my escape in the early years. At 15, I moved back to Minneapolis, MN, to live with my father, where I finished high school. In the following years I pursued a career in Hip Hop (emcee name Soulution) with a high school friend (emcee name Hennessy), as the group Tragedy & Triumph(TNT). We released 4 independent albums and did hundreds of shows. April 29th, 2014, on my way home from a music video shoot, I was in a near fatal car accident. I regained consciousness 5 days later, spending the following 3 days blind. I had a severe Traumatic Brain Injury(TBI), broken back, 25 titanium plates in my face, and titanium wiring holding my eyes in place. After regaining sight, I spent another several weeks in Regions Hospital. This was the beginning of my journey back to life through art. Learning how to function even at a subpar level was no small task, however my artistic ability was still relatively in tact, which gave me hope. Art and
music were no longer passions, they were needed therapies. At first it was drawing and piano that kept me afloat. At the beginning of 2019, I moved to La Crosse, WI, to stay with my grandparents as a live with a caregiver. It was there that I was introduced to painting with acrylic and ink by Nancy Ellingson(my art mentor, my friend, a former professional painter and art teacher… my grandma).

How do you define your artistic style and what are your sources of inspiration?

- My artistic style is wide ranging, full of conflict, yet also peaceful. A visual dialogue between
structure and chaos, my style is emotionally dynamic and very personal. My grandma’s abstract & landscape paintings were the first examples of fine art I remember seeing. I marveled at her ability to make a landscape look photo-realistic at a distance, when up close it became a controlled disbursement of detailed abstract forms, overlapping one another in various colors, creating exquisite texture, with
delicate washes conveying great distance with the sky. Her work was what first made painting magical to me, and is still a continual source of inspiration. Jack Whitten with his complex abstract variations, from the single gesture paintings(which he developed in the early 70’s), to the mosaic like abstracts, his lectures on painting, his books, and they way he went about “making” a painting have had a profound impact on my work and make him a huge source of inspiration. Music is also a huge inspiration. From Nas to Bach, Chopin to Wu-Tang Clan, Schubert to Outkast, classical piano and hip hop have been lifelong inspirations for me, and have always been a part of my art.

What are your techniques and materials you use to create your works?

- My techniques are ever evolving due to endless experimentation. This leads to marvelous accidents, making each painting it’s own process. From each composition I collect a bit of information, which is hen added to the subconscious methods of applying the paint. Primarily utilizing acrylic paint and nks,
which gives variance in the consistency, as well as using anything for a paint brush. Incorporating xtreme weather, painting outside in the midst of a blizzard, I collaborate with the elements of nature. etween the thickness of the snow, the wind, the temperature, using anything for an applicator, including a spray bottle, I am able to paint with the sky. This gives unexpected detail and variety to e ch painting and helps to take the “me” out of the work. Less ego equals more movement. I consciously make an effort to not think about what I’m going to paint, and instead assist in a set up of different factors, with a process of letting the painting make itself. Just as Jack Whitten would use what he would say is a state of “no mind” as well as “making” not “painting” The process is the painting, often in a trance very akin to automatism, utilized by the surrealist painters.

How do you choose the colors, shapes and textures that characterize your paintings?

- Most of the time with a spark of spontaneity(usually once a day), I don’t think, I just do. Using this method most often, I simply grab whatever paints, mediums and applicators(using anything but a paint brush to paint) and just go. Merging, mixing, and overlapping paint, water, ink and oil. At that point
contingent on if I’m indoors or painting in the elements, I follow the paint, rather than directing it. Again, this is a helpful way to not erase self, but at least keep the ego in check. Most often I paint sing a varied mix of acrylic and ink on either gesso board, paper or canvas.

What are you trying to communicate or convey with your art?

- I am attempting to convey truth, regardless of whether in a good state of being, or in the “thick of it.” I use that negative head space as fuel for my continual search for beauty. In the this search I am able to stray away from any particular narrative, which many artists have a propensity to ascribe an ideal to their paintings. I prefer to let the paint speak for itself. At the end of the day I am always most pleased when a number of different people are drawn to a particular piece, and they each see something
different within. I’m relearning forgotten aspects of self as I continue to practice the language of color, shape, line, and form.

What are the themes or messages you want to explore or denounce through your works?

- Healing, time, memory and the finite nature of the body, mind, and the material world. Another major theme is simply “process over production.” Sub conscious journalism with paint in a childlike and playful fashion, which then yields the natural therapeutic properties to painting. I find while painting an abstract piece with a sense of no limits, no boundaries, no rules, I get out of my own way. Freedom and the vast unknown yet felt spiritual realm are also common themes.

What are your artistic references or influences? Which informal artists do you admire or have
inspired you the most?

- Aside from the aforementioned top 2 favorite artists, Jack Whitten & Nancy Ellingson, and a long list of other painters: Frank Bowling, Maxine Masterfield, Wassily Kandinsky, David Dolan, Julie Mehretu, Norman Lewis and so many others, there are so many aspects of existence(family, community, history, pain, healing) and domains of knowledge(philosophy, mathematics, biology, neuroscience, horology, astrology, aesthetics) which influence my work. Music is also a huge component of my inspiration(particularly hip hop and classical piano). I must also include the many skilled Graffiti artists and emcees who turned Minneapolis into a city full of murals and music.

How would you describe your creative process?

- My process is one of healing. So if I have an idea, no matter how crazy, I just start going. This
allows me to stop “thinking” and begin “perceiving” as the paint and other mediums are applied. By letting go of the attempt to control, I find it best to more so let it go. As I previously mentioned I enjoy collaborating with the elements of weather, especially painting in snow storms, but also when its raining, or extremely windy. Its a collaboration with the elements of nature and the materials I’m using. Think of it like extreme plein air painting. There are so many variables at play, with far less
under my control. This practice helps force me to continually improvise while painting.

What was your artistic education and what were your most significant experiences in the field of
art?

- My formal education in art was primarily in the art of music. One of the most significant experiences in my musical journey, was the privilege of being accepted into the Appleton Boychoir in 5th grade, traveling with the choir to Mexico City in 1997. I’ll never forget the climb and the view standing at the top of the Pyramid of the Sun. I have never visually experienced anything more breathtaking than the view from the top of that pyramid, looking at the Pyramid of the Moon and the vast landscape beyond.
On that trip the choir did a concert at the presidential palace, with Ernesto Zedillo Ponce de Leon in the audience. During that concert I sang a solo for the President of Mexico. Traveling with the choir to Japan 2 years later was another highlight. Receiving a painting as a gift from one of my favorite painters, David Dolan(who sent me an original 16x20” painting from 2003) was another highlight. I am amazed to the extent of which I was able to learn, just by taking the time to observe and taking the
study of art seriously. es es painting and playing piano, there is nothing I enjoy more than sitting in a dimly lit room, reading an a t book. I have learned a great deal from research, but far more from simply experimenting with the paint and ink itself. I formerly completed a watercolor course in 1999, and a cartooning course in 2000 at the University of Wisconsin Green Bay. Also, I was a live in student from 2019-2021 with one of my favorite painters, my mentor, my friend... my grandma, Nancy Ellingson. There is a difference between education and knowledge gained by diligent self study. Both are important in many different ways, however it is the latter that has benefited me the most.

What are your future plans or goals as a painter?

To continue to learn, grow, and heal through painting. To then be able teach others and advocate through painting for painting’s therapeutic value, particularly in regards to the cognitive healing it helps promote following a Traumatic Brain Injury(TBI), Stroke, and/or Spinal Cord Injury(SCI). All 3 of these injuries are categorized together as Acute Neural Injuries(ANI). Utilizing painting as a continued process for not only my own mental and emotional healing, but presenting its importance as to becoming an easily accessible and viable treatment option/addition to the Physical Therapy, Speech Therapy, and Occupational Therapy offered during and after hospital stay due to an injury of this significance. Most individuals feel quite lost after being discharged from hospital care, with the only additional resource often being Vocational Rehab(DVR). Art gives hope and a sense of connection, which is something just about anyone recovering from an ANI needs the most.