How did you get into making art?
I didn’t grow up in an artistic family and had very little exposure to art growing up. Until I was seventeen, I was preparing for medical school and had always enjoyed science. In my final year before the entrance exams, something shifted. I found myself spending more and more time in my room, painting obsessively and reading books that had nothing to do with my studies. At first, it felt like a small act of rebellion, but it quickly turned into something with real substance. Although I had always liked science, discovering art opened up a whole new world without limits, and I was deeply curious. It became a daily ritual, and slowly I realized this was what I truly wanted to pursue. I still remember that period vividly, though I cannot fully explain it. From that moment on, I have not stopped making art.
What are you currently working on?
I’m currently developing a new series that continues my exploration of observation and representation, taking a more cinematic and uncanny turn. Working in a larger space has allowed me to expand into immersive landscapes, exploring tension, narrative and layered perspectives in new ways. At the same time, I’m continuing my thermal portraits, introducing new characters and broadening the interactions and identities I examine. The work is evolving and I’m really looking forward to sharing more about what’s coming next!
I am drawn to the tension between power and vulnerability.
Anna Samara
What inspired you to get started on this body of work?
This series grew out of a restless response to the world I live in, the instability and contradictions I see every day. I am drawn to the tension between power and vulnerability, to the question of who shapes perception and who is shaped by it. A residency at the Vermont Studio Center also pushed me to consider the landscape itself, not just as backdrop but as an active participant in these dynamics. With this work, I am going deeper into these shifting relationships and the complexities they reveal.
Do you work on distinct projects or do you take a broader approach to your practice?
I usually start with a project or a series, but I allow myself to follow ideas that emerge unexpectedly, as long as they connect to the original concept. It is exciting for me to discover threads within ideas and find interesting juxtapositions along the way. I see this openness as essential. It’s in responding to these discoveries that I feel like the work deepens. Even while exploring, I maintain a sense of direction, whether for a single painting, a full series, or a show.
What’s a typical day like in your studio?
In the studio I usually listen to music, paint and move between multiple pieces at once, since with oil the drying times vary. I also spend time editing/sourcing images and doing drawings that often become starting points for future paintings. I also like to shift things around the space quite often, play with different compositions and see how the works speak to each other. Last but not least, I take moments to write, to sit in silence, or simply to look at the paintings. Those pauses are as important as the act of painting itself, because they open space for reflection.
Who are your favorite artists?
They are so many artists that I are important for me and my journey. My influences are wide-ranging. Medieval art and ancient Greek sculptures have shaped my approach to form and narrative. New media worldbuilding is greatly inspiring in terms of thinking about the future of representation. The Surrealists, with their exploration of the unconscious and manipulation of reality, inspire me in blending the psychological with the fantastical. I am also inspired by fellow artists who do a lot with very little, as their resourcefulness and ingenuity encourage me to prioritize creating regardless of the circumstances. At the same time, I love discovering new artists and often find unexpected sparks in their work that shift the way I think about my own practice.
Where do you go to discover new artists?
I discover new artists both online and in person. Living in New York gives me the chance to see a wide range of shows, from major exhibitions to small galleries and artist-run spaces. I also recently discovered that residencies can be a great way to really connect with other artists from all over the world, and to encounter practices I might not have come across otherwise.
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