The near faultlessness of human nature

Nadia Lino

Year:

2017

Media:

water colour on a mirror

Size (cm):

80 x 80 x 5

London 2018

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Other works

True Friendship

Nadia Lino

Year:

2017

Media:

oil paint on canvas

Size (cm):

21 x 29.7 x 3

London 2018

A walk home

Nadia Lino

Year:

2017

Media:

Mixed media on a wood pane (oil,acrylic and indian ink)

Size (cm):

40 x 50 x 5

London 2018

Biography

Nadia is a young Russian/Ukranian/Portuguese/Angolan artist who is currently anticipating to study BA Painting in UAL Camberwell.She specialises in creating folklore art with an illustrative edge and has a quirky trait of drawing hearts on the figures cheeks. It interests her that heart symbol are so iconic and wonders if it because it is so balanced or is it because it is cute/romantic. Either way hearts seem to appeal to her because they are so worldwide and known. The anatomical heart is not romantic at all and yet it is still being marketed which she finds quite humorous because it really makes you think deeply into what art has become and whether art is something to be admired for its beauty (how balanced it is) or whether it can still be considered art if it is shocking and gruesome. Using both the anatomical art and the iconic “romantic” heart I think makes her art shockingly cute.

She says: 'I think she is quite different from her competitors because I am slightly crazy so it is not difficult for me to think outside of the box'. As a young teenager she used to stick motivational quotes on her ceiling as she got depressed quite often and her favourite saying was from a motivational speaker Les Brown that ‘if you fall down, as long as you can look up, you can get up’. She also says she :' knows what it is like to feel like you are walking on the edge of the Earth'.

Artist statement

I once told myself if I ever had a life like Van Gogh’s I would end it. Art was something I avoided like the plague. Psychosis became a part of my life with art. Fortunately I learnt that art to me could be not a source of fear but a source of comfort. In hospital when I had no artistic resources I would take plant stems and nail varnish to paint with and I felt safe even when I heard and saw things that weren’t there. Art became the only way to experience daily glimpses of heaven in a hellish world.

Now that I am better, Van Gogh is my inspiration because I love colour. I never tell people my secret interest of how hallucinations coincide with artwork. Personality, madness and the context of the artist interest me greatly but I will tell people vaguely the themes of my art. That it is about friendships, family or childhood and I hope that they can interpret the artwork themselves and that it will also be a comfort to them as it was to me. Mainly, I like to illustrate and paint children because I enjoy retracing the past and analysing how I became who I am today through memories and nostalgia.

Before art brought me joy, I was no more than a prideful perfectionist. However, the fortune of the happy accident is now apparent to me as experimentation in art has taught me to let go of perfectionism and make my ideal flexible. I am learning to use different mediums in painting such as oil which is beginning to feel more and more like spreading butter on a canvas as I learn how to use it. I have learnt to develop my work by looking at other artists, reading and by watching Ted talks for inspiration which I do in my spare time. Also, being allowed to explore different types of art has helped me to refine my choices. As I once wanted to do nothing more than fashion journalism, I cannot believe I am on a journey to become a painter… It is like a dream come true and I feel like Van Gogh!