An Interview With Elizaveta Filips

Elizaveta Filips melds together an expressive and diverse visuality that encompasses hope and despair, light and dark and the sublime and the ludicrous. Her subject matter and visual themes create an engaging hybrid of surreal worlds and personal memories. Filips translates the subjects of her inspiration into seductive, translucent and shadowy figures that burst with dynamic colour and tone.

Filips’ artistic process involves creating dreamlike abstract compositions. These compositions are created through her gestural process which and fills the work with mysterious characters and events which unfold before the viewer. The ambiguous nature of her work means that sometimes we see human figures emerge from the landscape and other times we just see a dymanic brush stroke or vibrant flash of colour.

Can you tell us a little bit about you?

I’m Liza. I’m 26. I’m an artist. I made the final move to Paris from Moscow two years ago. The best decision I’ve ever made so far. I'm curious myself to see what happens next.

What is your artistic process and how has it evolved since you began painting?

Back at the very beginning, my favourite university tutor once said to me, while lighting a cigarette: 'Boss, you have too much to say. That's your thing, don't be afraid of it. Just pour out onto the canvas everything you need to. And then, deal with this visual information through calculated artistic decisions.' I feel like it's still the key thing for me. It's just that with each passing year, I level up in 'dealing' with this outcome, haha.

What are some of the recent themes you have been exploring in your latest work?

There is a random phrase that struck me: 'Pain is so close to pleasure.' I think now I'm more adept at navigating that subtle boundary between hope and despair, light and darkness, the sublime and the absurd, and so on. I would even say that I'm focused on this invisible line between them. My compositions mostly evoke a dreamscape where surrealism intertwines with personal recollections.

How do you translate personal memories into visual metaphors or symbols in your art?

It’s hidden everywhere. There are so many contextual layers in my works. I usually repeat all these forms and symbols from one work to another. This way, it's easier for me to navigate through my own compositions over time. I see certain clues for myself and immediately understand what I was feeling at that moment. My cheat-codes.

What are some of the biggest challenges you face as an artist?

1) Unlocking all the potential that lies within me 2) Finding creatives with similar vision 3) Building an empire together P.S. 4) Enjoying all the previously mentioned steps even when it’s hard as hell.

How do you hope your art will impact viewers?

There are no limits to the perception of art, generally. Each viewer finds their own keys. I love listening to people invent completely different plots for my paintings. For me, this moment is not about my work at all. In this moment, I'm watching people look at their own reflection. That's where the magic lies (or cringe, depending on perspective).

When did you first realize you wanted to be an artist?

I don't remember exactly. It seems like I've always understood that.

Are there any particular artists that you are currently enjoying?

I don't need even a second to answer that, currently it's Pol Taburet. That's the moment when you walk into the gallery, see the paintings, and just know "This is it." And you don't doubt it for a second. I don't think it's possible to put this feeling into words. It happened to me only once in my life before. Pol managed to do it to me again. I'm incredibly grateful to him for this.

What is your favourite book or film and why?

I want to keep my favorite movies and books to myself. Just recommend everyone to watch South Park mixed with Kubrick's films and Ye West’s listening parties at the stadium on YouTube all together at the same time. You'll definitely get closer to my works after this.

Are you working on any new projects you are particularly excited about?

All my works are closely interconnected, forming one big narrative of a single grand story. Recently, we launched a stunning project ‘TOY: Tales of Yesterday’ with artist Aziza under the curatorship of Mishel Tesfaye at a large industrial site in the suburbs of Paris. It was our first experiment with a 350m2 space, where we created all the scenography ourselves. I really want to push beyond the confines of white walls and explore expansive, interesting venues for projects. For me, my paintings, while central, are just part of what I do. I believe that the space around is an important extension of the art itself. Ahead lie ambitious projects (with other talented artists) and they too are part of this narrative. Someday I'll bring it all together. It's not time yet but I feel it’s coming. Stay tuned!

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