Welcome this month’s cover artist, Silvia Boboková, an artist based in Slovakia who creates artworks in a variety of traditional and digital media, all of which have a pleasantly foggy and mysterious narrative to discover within.
BRADLEY POWERS: You work in so many different traditional mediums, as well as digital art, and you use the unique visual qualities of each medium to your advantage. How did you become such a versatile artist?
SILVIA BOBEKOVÁ: Traditional media are clearly the essence of true art. They add uniqueness and the touch of the artist's hand and soul to each work. I love to create in such a way that the brushstrokes are clearly visible. I like when there is expression in a work of art. I also try to put that into my work in digital painting. I only got into it in 2019 and it makes it a lot easier for me to work with clients who need to create something for commercial/presentation purposes, for example. Various illustrations are also created well in digital form, with which people like to make themselves happy. Digital painting is a form of full-fledged art, but I definitely prefer the traditional form and getting a little dirty with colors.
BP: Your Etsy page says you live in the heart of Slovakia surrounded by forests and animals. How does your environment impact your work and process?
SB: The environment in which the artist works certainly influences his work to some extent. Most of the motifs I deal with have a touch of nature, naturalness, human, reality, and fantasy. Somehow I put it all together. The region of Central Europe is rich in inspiration; there is peace, beautiful nature, clean air … From every corner you can create a story of the past and the future. In recent years I’ve enjoyed traveling and on my travels I discover a lot of new inspiration and more desire to create. I think that is the task of the artist: to capture what he likes or what resonates with him and express a story, an emotion. Give it all another, deeper meaning.
BP: I see that you’ve done Inktober. Some artists find Inktober so inspiring and a great motivator, but I know others who find it overwhelming and more stressful than helpful. How has it helped your creative practice? Do you have any advice for artists who want to do Inktober?
SB: Excellent question. Inktober is a very special part of the year for me. It transports me to the times when, in addition to school, I began sharing my creations in the virtual world. The fact that the topic is given in advance is less comfortable for some and they feel that they have to hit the target literally at any cost. However, you need to look at the other side of the coin. The mere fact that the topic is given can broaden our horizons and allow the mind to look for new variants and exits, and often this is how works are created that acquire an admirable idea due to their sophistication. Inktober is simply a game and no one judges anyone for how they approach the prompt. It is a time when art unites the whole world across continents. At this point there is no room to worry about how I will manage Inktober or if I will finish it, just that someone thought to create it and that someone is watching and interested is amazing. Inktober should be simply enjoyed, by creating or watching. Either way, it's inspiring! Besides, I like the spooky time in October when it's raining outside.
BP: What kind of content–books, movies, tv shows, etc.–have inspired the creatures in your work?
SB: There's a lot. From early childhood I grew up surrounded by the books of my older siblings, from native stories to travel fantasy books. Before elementary school, I watched fantasy movies and even horror movies. (My parents left it to my work with fear :D) Eventually one realizes that monsters hide among people rather than under the bed … Fantasy and perception of the surrounding world play a big role in my life. I still like fairy tales–there is hidden wisdom in them. I learned to read when I was four years old and I still love books to this day. Our Central European legends are also close to me. Sometimes I like to depict something between old pagan stories/rituals and reality. I like old wooden architecture, genius loci and simple village life.
I am also fascinated by the biographies of various artists whose work I admire. I like to visit galleries and admire the impressive work of old masters. I love the craziness crossed with genius. If you like something similar, I recommend visiting the H.R. Giger museum in Gruyéres, Switzerland.
Every now and then there is something in particular that influences what I create. The world around us offers a lot of inspiration. I like meaningful things, thinking about life, death, and existence, and I like philosophy. Stoicism and cynicism are closest to me.
BP: You often leave sections of a painting appealingly hazy, leaving it up to the viewer to complete the narrative. A great example of this is in “solstice night.” How do you create that intriguing balance of a mysterious hazy effect, while still having a complete work of art with a compelling narrative?
SB: The art of "fog" is basically in every artwork I create. Behind each there is a story or a moment that the artist would like to describe. The oil painting "solstice night" depicts the story of a woman who feels connected to her roots and is in constant connection with nature despite the modern world around her. Basically, it is the creation of my soul and the story of a life that people here have forgotten and indulged in the mammon of materialism, when fantasy recedes into the background despite the fact that every ritual once had a huge meaning in our lives. Technology can help in many ways, but humanity likes to push everything to extremes. This story is hidden in the "fog" of the painting, and when the artist has an idea that he would like to put into the artwork, his brushstrokes are tilted.
BP: Many thanks, Silvia, for allowing us to venture into your artistic practice. Our cover piece, “Dreamer,” is only one of Silvia’s many phenomenal works. You can discover more on DeviantArt and Instagram.
