Today, we'd like to introduce you to Aimee Zia Hasan, a dynamic artist whose journey in art transcends mere expression to become a voyage of personal discovery and profound creativity. From her earliest days, armed with a sketchbook and a vision, Aimee has been more than just an artist; she has been an explorer of the creative realm. 'I’ve always been making something - a picture, an object, an arrangement... I used to think of myself as an inventor,' she reflects. This journey, marked by an early fascination with art books and a bold ambition to become the best, reveals Aimee's deep connection to her craft. Her story is a mosaic of personal experiences, rigorous skill development, and a thoughtful engagement with societal themes, painting a picture of an artist dedicated to evolving and exploring the depths of her artistry.
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Can you recall a pivotal moment or experience in your early life that ignited your passion for art?
For me, there wasn’t really a singular pivotal moment. It was rather a collection of early experiences and jumbled feelings of happiness and frustration connected with art making, which pushed me to keep creating. As far as my memory can reach I would always be making something - a picture, an object, an arrangement. I used things I found and collected at home and outside. And I remember having this feeling that I discovered something completely new. I used to think of myself as an inventor. I’ve always had a very intense perception of my experiences, and felt this need to somehow both preserve and convey the vividity which seemed so clear in my mind. To capture moments, to preserve feelings, to communicate them through drawings. I made diaries and comics, and as a little kid I always carried a small bag with a sketchbook and a few pencils anywhere I went. Even my old school friends remember me as the drawing girl.
I also always loved looking at art by others – that was a great source of motivation and inspiration for me. We had a bookshelf filled with art books at home, and I looked through them over and over - I was so fascinated by the artists' ability to capture reality and atmosphere. Fascinated is actually quite an understatement - I couldn't comprehend how they achieved it. Which meant I had to learn it. I wanted to be able to paint like that one day. I was very lucky to grow up in a supportive environment where my family enjoys art. That's why they were pleased when, as a kid, I first proudly announced that I wanted to be the best artist in the world.
Discuss the balance between innate creativity and the skills honed through education and practice.
It's always been the case that the skills that look most effortless and ‘natural’ are actually a product of hard work, training, numerous failures and endless practice. The common perception of talent or ‘gift’ often takes away from all the work artists put into it. So I think most artists can relate to the feeling of frustration when someone credits their talent. As a child, I drew from memory and imagination. I drew what I thought things looked like, rather than what they really looked like. In other words, I hadn’t yet developed the ability to look and see. There were many failed attempts at desperately trying to capture reality, knowing something was wrong, but not being able to identify what. But this kind of frustration was and still is a great motivator. I realised that when I applied myself, I could achieve better and better results. Knowing that I had that power to improve myself was pretty encouraging, especially since my passion for art had become vocational and at the age of fourteen I decided to apply to an art college.
When I read the entry exam requirements, I realised how much there was to learn, even before getting in. We had to draw a portrait of a real-life sitter, body proportions, animals, architecture – quite a difference from my little comic drawings. After the initial panic, I got into a serious, everyday practice. Portraits, facial expressions, features, angles, drawing friends and classmates, family members, and practising speed drawing. And I started using different mediums too. At fifteen I painted my first oil painting - it's safe to say I was terrified of making each brushstroke. I did get into the art college, and have continued to work and practise. I started being more confident in my technique and set harder and harder goals for myself. I am now in my second year of Fine Arts BA at University of Technology in Brno, Czechia.
I would say there is no single way to be an artist, people are all individual, and what works for one person doesn't necessarily work for another. But from my own experience, the balance between innate creativity and honed skills is definitely something I respect. I know that if I didn't practise the way I did even before art college, I would still be making fundamental errors. Now I get to use and shape the medium the way I want thanks to honing my technique. But an artist never really stops learning and evolving (unless they choose to). I am pretty humbled when I see how much there is out there to still learn and improve.
In what ways does your artwork reflect or comment on current social, political, or environmental issues? Can you give specific examples from your works?
I began thinking more deeply about the thematic and conceptual aspects of my paintings in my mid-teens. As a lot of teenagers do, I started a journey of self-discovery, which I applied to my work. I explored both social and self perception of gender identity through contextual placements of self portraiture. I called this series 'Forms within Spaces, Spaces within Forms', as I was attempting to articulate mutual interactions between the inner and outer self in the world. I also started addressing climate issues and their toll on wildlife. I painted a series of small dead birds and animals which perished as a result of human activities and carelessness. I also connected deeply with the topic of animal cruelty and mistreatment of our living environment. I am deeply fascinated by our biomechanics and the contemplation of the inevitable perishable aspects of our organic existence often re-emerges in my work.
Now, in my early twenties, I try to reflect these difficult topics in my art in an appealing and memorable way - sometimes through a subtle play, and often in a multimedia form. In a recent project, I made a sequence of a hundred oil paintings and turned them into an animated video called 'Melding', where I depicted human decay and decomposition, followed by becoming one with the ecosystem and new life sprouting. I have also painted a large format still-life triptych called 'Catastrophe', where I imagined a possible climate crisis - the coming of an ice age. The paintings depict little toys and curious objects which are arranged to enact various stages of an environmental catastrophe, through a child’s play. I used toy cars, plastic animals, bugs in resin and icing sugar for snow to create little still-lifes, which I then painted in oil on a large scale banner style free hanging canvases - the biggest being three metres long. Engaging and reflecting on contemporary themes through art is not only a question of inspiration, but a platform to explore and express my views and feelings on the subjects.
Could you walk us through the steps of your artistic process, starting from the initial idea to the finished piece? How do you develop your concepts, and what are the key stages in creating your final work?
I usually begin with a general idea based on my current interests. I always write my ideas down so I can return to them - that way I never run out of inspiration. When I commit to a more complex project, I make a mind map to shape and crystalize the concept. I prepare the subject material - I arrange still-lifes or select reference photos and sketches.
Each time I start a new painting, I prime the canvas with a colour that would compliment the finished piece and glow through the top layers of the painting. I then block in the composition by removing and applying more of the same paint, to make a monochrome underpainting. I either build my paintings in layers or work alla prima, depending on the present need of the project. I rarely make small sketches or plan the composition in advance, that usually happens intuitively when I do the blocking in. Essential to my process is colour building: I block out the colour planes, and build up the contrasts and values and keep shaping. While I paint, I often fall into a kind of trance - I am in the flow and time passes very quickly. Then when I take a break I look at my work and I think to myself - how did that happen? And before I know it, the painting emerges. I can tell it's finished when I've examined all its sections and made sure nothing is bothering me, and it all works together in harmony.
Discuss the importance of personal connection to your subject matter. How important is having a personal connection to the subjects or themes of your artwork? Can you give examples of how this connection has influenced your work?
I don’t think I would paint a subject that didn't appeal to me in some way. However, when I first started painting, I had to confront conflicting emotions. I really wanted to capture something or someone that is precious to me, but I was very nervous about messing it up. Because of the emotional investment, it was difficult to catch the likenesses of the people closest to me, the people I saw every day. I had to start letting go of the fear of failure and accepting and embracing the journey. And of course, the same stands for topics and themes which matter to me. I think, with personal connection, one has to really just try their best at depicting it. The outcome becomes all the more meaningful, if not always for the viewer, definitely for me as the creator. Having said all this, I don't think it's always necessary to have a personal connection to the theme you're painting, it could be something completely out of your common subject scope, which would push you out of your comfort zone and enrich your range. But then, engaging with it will make it personal anyway.
How do you think social media platforms influence the way art is created and perceived today?
I think I might be repeating what most people have already said - social media can very much help but also very much distort a young or beginner artist's perception or view of what and how to paint. On the one hand it can help you find your community and inspiration. This, for me, is the Cane-yo group. I think of them as my painting family, where we discuss, critique and encourage each other and our works. We plan joint exhibitions, collaborations and challenges, and offer a safe space and supportive friendship to one another. My portraiture, for example, has thrived in this environment, as we all contribute reference photographs and paint each other.
Then on the other hand, social media can put immense pressure on an artist of any age and experience.
By figuring out what gets the most recognition and engagement online (usually that applies to portraits or figures and realism), a person can start painting only for the ‘likes’. This also happened to me: for example there were times when if I posted anything other than a portrait, it would get next to no recognition. That can deeply discourage a young artist, or alter the artist's goal. Luckily I’ve managed to stay on my path and continue to work on myself and on what I want to improve in. But there are many cases where artists get stuck with one thing, perfect it and stay in their comfort zone. It is a very easy routine one could fall into.
As for how social media platforms can influence the way art is perceived today - whilst I do think it's a good way to get your portfolio out there, I think it's only for surface engagement with the viewer. People don't really spend minutes or hours looking at art anymore. It has turned into seconds and could lead to a person becoming numb to the experience.
What are your views on the 'mad artist' stereotype and its relation to creativity and artistic success?
As soon as I got into art school I started experimenting with my image - colourful hair, no hair, too much hair... As a fifteen year old who was discovering a new and exciting community full of complex questions of gender and identity, I was completely overwhelmed with new ideologies. At the beginning, it's hard to tell the genuine artists apart from the people who like the image of being an artist but have little to show for it in terms of actual work. It is a very glamourized thing to be a torn, despairing, depressed artist - there's a mysterious nature to them. Yet I don’t think these stereotypes are there for no reason.
To a degree, almost everyone suffers from some form of anxiety or other mental health issues. It's just that artists often manifest it more.They use it and create with it, try to convey or channel their life experience and struggles. I think some artists have made this approach into a brand that is appealing for the public as it conforms with the mad artist romanticisation. I suppose this strategy can make a person memorable. But then again, there are loads of artists that lead ordinary lives and don’t seem extravagant or mad at all. Personally, I am an OCD sufferer, but I don’t think it defines me artistically or contributes to my artistic image.
Discuss the potential and challenges of teaching your artistic skills to others.
I accept many art teaching opportunities and I very much enjoy sharing what I know and what I am still learning about making art. Both my parents are teachers so I grew up seeing the patterns for becoming a good teacher and a coach. I assist at painting courses for the general public, as well as tutor individually. I have developed the ability to connect through with anyone, from kids on the spectrum to senior citizens. No matter how advanced or what their goal in art making and painting is, I teach them what I know and adapt to their needs. In return, I also learn much from every student - I get to experience their point of view in perceiving the world. It is very enriching and fulfilling for me to help them thrive and discover what I had once discovered.
By teaching others I am also learning more and more about myself - the process of passing on what I know also helps me to reflect on my techniques. I tend to approach each person individually and that contributes back to my own learning. It is truly a privilege to see the difference you can make to other people's lives through sharing art making.
What are some upcoming projects or plans you are excited about?
I am currently working on a number of projects that involve different mediums. Alongside painting, I'm also a musician. I sing and play in three bands and I am learning to produce my own original sounds through softwares. I write poetry and lyrics and I also dabble in acting, dancing, performative arts and film making. In visual arts I experiment with different graphic techniques and sculpture. I usually work on a new conceptual project every couple of months. From large scale canvases, painted animations, incorporation of sound and film to interior installations - I like to push myself further with each project, often using painting as an integral instrument of a larger whole, rather than an outcome in itself. I am currently working on a multi-media installation called 'Lingering', where I work with preserving memories and converting the viewer into a timeless space, using visual and musical stimulation to trigger a sense of familiarity and nostalgia. While painting remains a constant, in the future I'd like to take up sculpting large objects and statues. That's definitely on my to-do list! After a whole bunch of other stuff.
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Concluding our insightful dialogue with Aimee Zia Hasan, we are left with a vivid portrayal of an artist who has woven her life experiences into the very fabric of her art. Aimee's journey, marked by an unyielding pursuit of personal growth and artistic mastery, challenges the boundaries between innate talent and skillful practice. Her thoughtful reflections on art as a medium for addressing and reflecting upon societal issues underscore the role of the artist as both a creator and a commentator. Aimee's story, from her introspective teenage years exploring identity through art to her current multifaceted projects, exemplifies the ever-evolving nature of creative expression. As Aimee continues to push the limits of her artistic potential, we at Artit eagerly anticipate the continued unfolding of her unique and inspiring artistic narrative.