What brought you to illustration?
I have loved drawing ever since I was little. It felt natural to continue drawing and study academic drawing, animation, and visual communication. Although I'm not entirely sure what led me to illustration, it seems that every form of art I have learnt and explored has some relation to it.
"Autumn", commissioned by Adobe Creative Residency Community Fund. "This illustration was about autumn and the smell in the air now reminds me of the landscape during the walk from a town to another in Cotswolds last year."
What does a typical work day look like for you?
It depends on the type of project I'm working on, but there are a couple of things that are always part of my routine — I absolutely need my strong morning cup of tea and some cuddles with my cat to start my day! I try to keep things as close to a nine-to-five schedule as I can, just to make sure I'm balancing work and life, since freelancing can sometimes blur the lines between the two.
"Adoption"; a piece for the newspaper "Deseret News" for the article titled "The new truth about adoption" by Michael J. Mooney
Are there any illustrators who influenced/influence you?
Definitely! I studied academic art for more than 10 years, it’s hard not to be influenced by classical art. But I also get inspiration from everything I experience in life, such as exhibitions, publications, movies, nature, weather, etc.
"A House is not a Home" ("An illustration I made for "The New Yorker" for the excerpt of the upcoming book "Having and Being Had." The book reflects on furniture, homes and capitalism. This project reminded me of my room in London, which was filled with nice furniture I collected from the street."
What was your very first illustration?
It’s too long ago to recall! But my first commissioned illustration work was an editorial for The New Yorker article, titled A House Is Not A Home.
"Adoption 2"; a piece for the newspaper "Deseret News" for the article titled "The new truth about adoption" by Michael J. Mooney
What inspires you? Where do you get your ideas from?
I find inspiration in almost everything around me — my experiences, the places I visit, the people I meet, and even my thoughts and emotions. My mind and body internalize these experiences, allowing them to simmer and develop over time. When I'm brainstorming or when an idea is ready to emerge, these internalized experiences come together naturally to form new ideas.
An illustration for The New Yorker for one of the summer Flash Fiction series: "What We Have Learned, What We Will Forget, What We Will Not Be Able to Forget" by Eugene Lim
Do you have a favourite illustrator/artist/author?
Oh, that's a tough one! I admire so many talented artists, but I don't think I have a single favourite. Instead, I find myself drawn to specific images, pieces of art, or even lines that really resonate with me. It's not so much about a particular illustrator, artist, or author, but rather the specific works that I resonate with from my heart.
Do you like listening to music or audio books while working or do you prefer silence?
It depends on the stage of my creative process, but I usually love listening to podcasts while I work. I recently started listening to audiobooks since I often exhaust my podcast library!
Do you have a favourite place to work?
My home studio!
Is there a particular story you would love to illustrate?
While I can’t think of a specific story now, I've been absolutely fascinated by fungi in recent years. I would love the opportunity to illustrate a story that explores this amazing subject.
"Crown Shyness": Crown shyness is a phenomenon observed in clusters of the same tree species in which the crowns of fully stocked trees do not touch each other, forming a canopy with river-like gaps. It's believed to be an adaptive response to avoid branches colliding, pests spreading and minimizing the harmful effects of competition. The comic was inspired by what has happened and changed around me during the past 6 months. The spring arrived and I felt that all trees and plants started growing and blooming more widely than ever during the time of our lockdown. Especially here in Berlin, there are so many plants and tall trees attached to the facade of buildings that makes the streets of my neighbourhood amazingly beautiful. This vivid vibe and the new normal of keeping the distance between us reminded me of the crown shyness phenomenon between trees. Adding a pinch of fantasy to the comic, I imagine a moment when people realise that growing and living fully without harmful effects is something that has always been in our nature."
What was your favourite illustration you have made so far?
Every time I complete a piece, I feel a sense of accomplishment and satisfaction, knowing that I've poured all my creativity and effort into it. However, I'm also my own harshest critic, before long, I can usually spot areas where I could have improved or pushed myself even further. So it’s hard to pick my favourite, but there are certain works that have a special place in my heart because of the personal connection I have with them, like '30 Days of Shoegazing' and 'Crown Shyness'.
What can you be found doing when you are not illustrating?
Foraging, crocheting, or chasing stray cats!
"Fluid Furry Fluffy Island"
What makes the art of illustrating special to you?
Illustration is a language that I feel most comfortable and accurate using to express and share emotions. Unlike words, which can sometimes feel limiting to me, illustrations have this incredible ability to capture the texture of feelings, and when you read an illustration, it’s more similar to experiencing emotions than reading words. Engaging with an illustration is almost like experiencing emotions first hand rather than merely reading about them. This immersive quality makes illustration a truly special and meaningful form of communication for me, both as an artist and as a viewer.
What makes a good illustrator?
Hmmmm ... ... .....
Do you struggle sometimes? Do you have to motivate yourself, and if so, what helps? Is there a kind of "illustrator’s block?"
For me, one of the biggest challenges is knowing when to step away from a piece and give myself a break. I tend to get so invested in my work that I want to keep going until it's finished, but I've learned that it's essential to find a balance and give my mind a chance to recharge and review the progress.
