What’s the essential element in your art?

It is important for me to convey to people the thoughts, emotions and feelings that I had at the moment when the idea of a new painting arose. Impulse from seeing something wonderful, catharsis created by music, from everything around us. To convey the pleasure of beauty that is all around and is in everything, big and small. From the flight of the bumblebee to the infinity of Space.

Do you have an essential philosophy that guides you in your creative expression?

Art is all around us. We eat, sleep and drink art every day of our lives. Our clothes are designed by artists, our homes are imagined by architects. Nature is God’s gift of art to us. We need to see it and appreciate it every day of our lives. My goal is to bring that vision about in my paintings.

Do you have an essential philosophy that guides you in your creative expression?

Buddhism has a strong philosophical side. My philosophy is spiritual, not just Buddhism. I am open to other spiritual thoughts and sciences, which are searching for invisible phenomena, unified field and oneness. I am trying to join in the search.

What does your art aim to say to the viewers? 

I want my artworks to evoke an invitation. That the viewer might feel some strange attraction, some energy that can be sensed, that fascinates, but perhaps cannot immediately be understood. I believe that the power of change is a part of life, the idea of metamorphosis is continuing. Through my art I want to embrace the beginning of something new. I also hope that viewers can feel the invitation to discover their dark side, feel the fascination to explore it and own it. That’s why the stories I want to tell always include a seed of change.

The artist's discovery was a pure chance to display work at the high school art fair in 1998, the first with the general public, which added strong views about the artist and her not-easy-on-eyes artwork.

The fast track toward a complete change from watercolours to acrylics in 2001, inspired by the late Jonas Gerard acrylic artist, was the point of no return.

Do you have an essential philosophy that guides you in your creative expression?

My philosophy has always been to create exciting images that push boundaries. I’m always looking to push the boundaries of abstraction through techniques or different materials. I like to include glow-in-the-dark paint, mirrors, glass, glitter and found objects. The different objects I use to create more texture and add to the feeling, history and story of the painting. I find that’s more interesting to me and hopefully also to the viewers.

Please tell us more about your background and how you began creating art?

After high school, I began to read art magazines and visit exhibitions, mainly in Verona galleries.
At the time of school, I loved comics and drew a lot. However, despite being fascinated by painting and the profession of painting, I was almost in awe of it. After seeing an exhibition on Paul Klee at Palazzo Forti in Verona in 1995, I began my first timid experiments in painting.

What does your art want to say to the viewer?

I believe it is not possible to evade a linear process. To me, the consumer world is not POP as it is in Pop art, but a linear process that we are exposed to every day, and that leads to the most impossible.

(Most surreal) everyday situations. Basically, I don't want to dictate what the viewer must think, each of my works of art speaks for itself and the viewer should let his imagination run free when looking at my works of art. Regardless of my initial intention for a painting, my experience is that everyone sees things differently.

Spirituality and metaphysics themes are prevalent in many of your works. Can you explain where this interest comes from?

I was inspired by Alessandro Botticelli and Leonardo Da Vinci, as their works transmit a sense of poetic, mysterious and metaphysical meanings beyond the physical forms. The more I study those works, the more details I discover, and the more I am dragged in. I realized that figurative paintings could transcend figurative forms to explore so much more possibilities, not just imitating what we see. A good painting tells its audiences not only to look and enjoy, but also to feel and discover.

How would you describe FOA and how the idea to create it came to your mind?

FOA exists to shine a light on emerging artists through printed books. There's so much great work being made today by undiscovered artists, and our goal is to show their work to the world. I originally got the idea for FOA a year after I graduated from art school. I heard a museum director say that there were no opportunities outside of an academic context, and that statement resonated with me.

What art marketing activity do you put into practice regularly that works most successfully for you?

I try lots of different ways or getting my work out there; entering competitions, renting billboard space (for example we have ArtBelow on the London underground network where you can take advertising space to show your work) or applying to those kinds of opportunities that are a bit more unusual. But Instagram has been the best way to get exposure and connect with people all over the world. For me there is a bit of wariness in putting everything online but Instagram art followers generally seem to be very positive and I get some really lovely comments when I post, it’s great.

What is the origin of the art fair? How did it start?

Born in Barcelona, I have always been fascinated by Antoni Gaudi's architecture, especially the Casa Batlló and La Sagrada Familia. In 2010, I had the vision of holding the first-ever art fair in a UNESCO Heritage Site: the architectural jewel of Antoni Gaudi, the Casa Batlló. The idea was to showcase contemporary art placed in a masterpiece; to join contemporary art with a creative atmosphere. The experience of viewing and enjoying the best international talents within a masterpiece by Antoni Gaudi makes the experience extraordinary, memorable, unique and engaging.

How would you describe ARTUNER and how the idea to create it came to your mind?

At ARTUNER we focus on identifying talented artists and nurturing their careers. In order to achieve this goal, we have developed an innovative ‘hybrid’ art platform that stages curated selling exhibitions, both online and through an ambitious programme of pop-up international shows.

How would you describe the program and vision of your gallery?

The celebration of original and culturally relevant artistry. All galleries are essentially agents for artists, we like to think we acknowledge this rather than sneer at it: we promote our artists by using the most up-to-date technology and digital marketing methods. Our 'vision’ is to connect more people with contemporary art and recalibrate a relationship that has been showing cracks since the turn of the century; we would like to open galleries abroad and show that you don’t have to be a ‘mega gallery’ to have multiple sites and reach multiple audiences.

Emerging art is a tricky thing. How are you able to identify potential?

Emerging art is a tricky thing and it can be quite difficult to identify potential, so as it is important to follow your passion and what is aesthetically pleasing to you. I think it’s great to have professional help when you’re looking to acquire art. From someone, who can lead you and do the research (which is time consuming) but really essential. Research really is everything. You need to stay up to date on the very latest in the art world but not only, the scope of your research should be much wider than that, as art is often used as a communication tool to what is happening in society it is equally important to stay updated on the global, socio-political situation, (and not to mention the financial.)

What do you think of today's art market? How has it changed in last 5 years?

Today's art market is extremely interesting, especially with all of the massive changes over the past few years. When we first started out, not many galleries were really receptive to working with us, as people generally did not value Instagram and its massive influence in art. Really, the only gallery who took a chance on us in the beginning was Guy Hepner, as he was working with a slew of Instagram curators for exciting shows when the platform was still relatively new. Since then, I think galleries have caught on that whether they like it or not, Instagram and the internet are an important tool.

Social media has seemingly played an increasingly large role for the art market. Is it just a matter of hype?

Social media has an enormous amount of influence on the art market, specifically, the contemporary art market. Here we have a platform for the exchanging of ideas and images between artists, curators and collectors; we have access to photos of private collections, the whereabouts of famous collectors, the gallery openings...the action is endless.

What is your opinion on the art fair boom that has taken hold in recent years?

That is one of the disasters of our times, the boom is only creating 9 to 5 jobs for a group of people, LOL. I Don’t even think it’s a good business model for fair owners… it’s almost to a point becoming a laughing matter. I am being very clear about this; as long as there is a zero-countability in a part of an industry, the ramifications become disastrous. At this stage this is the approach of the majority of art fairs.

How and when did you first become involved in the art world?

While still at university I started to work for a bluechip dealer in Munich who provided me the first insight into the art world - with no doubt he had a very special approach on what he did. If you really want to dig back, my grandfather was publishing guides about local churches and religious art, so I remember canvases of various saints hanging everywhere.