10 Questions with Alina R.J

Al-Tiba9 Art Magazine ISSUE16 | Featured Artist

Alina R.J. is a London-based multidisciplinary artist with a Central Asian background, currently pursuing her Master's degree at the Royal College of Art. Alina's recent research focuses on Eastern philosophies, Jungian psychology – specifically Individuation and The Self – as well as tools to reconnect with this part of our psyche, including meditation. She has participated in 10+ shows in London, had two interviews, and had one in-person artist talk. She is also a creator of an art healing workshop series based on art therapy principles and energy work.

alinarj.com | @close.youreyes.andsee

ARTIST STATEMENT

In her work, Alina R.J. reflects on social, cultural, psychological, philosophical, and spiritual concepts to explore contemporary issues through a prism of ancient knowledge, seeking to uncover timeless truths. She works across different mediums, including painting, sculpture, performance, sound, and writing, communicating her ideas through symbolism and metaphors, often complemented by the artist's written reflections. Alina's ultimate goal is to evoke emotional resonance and provide a space for contemplation and introspection. In an era dominated by information overload and external distractions, she believes it is essential to highlight the significance of one's internal world and encourage viewers to turn inward. In essence, Alina's practice is a testament to the interconnectedness of all human experiences and the profound wisdom that resides within.

“It is impossible to find oneself externally – all the answers we seek are already within us.”

***Sky chronicles II***, digital drawings, iPads, synthetic fiber fillings, 2024 © Alina R.J

AL-TIBA9 ART MAGAZINE ISSUE16

INTERVIEW

First of all, introduce yourself to our readers. Who are you, and when did you decide to pursue an art career?

I am Alina R.J, a London-based multidisciplinary artist with a Central Asian background. My practice is quite diverse and I do not confine myself to one medium, though if I were to highlight the main ones, these would be painting, sculpture, performance and sound art.
Although art and making have been a part of my life from a very young age, I have been doing it professionally and full-time only for a year and a half now. I used to be in the corporate world before and was still trying to maintain and develop my art practice simultaneously, which was quite challenging. After some time, I realized that my job felt quitemeaningless and did not actually bring me fulfillment. I felt a deep urge to change something, followed by a little identity crisis and a couple of months spent on self-reflection, trying to figure out what I actually wanted to do with my life. As a result, I decided to pursue art professionally, quit my job on St Valentine's Day as an act of self-love, and went back into education after being accepted to do a Master's at the Royal College of Art. Honestly, that was one of the best decisions I have ever made, and I am so happy that I have accepted myself as an artist despite certain fears, hesitations, and socially imposed beliefs that were not actually mine.

Can you discuss how your journey as an artist, from your Central Asian roots to your current studies at the Royal College of Art, has evolved and influenced your creative process?

Initially, my art practice focused more on abstract philosophical ideas rather than my cultural heritage. Just before starting my course at the Royal College of Art, I went back to Kazakhstan and felt very foreign in my own hometown. As a way to repair this connection to my roots, I have started developing work that explores different elements of my culture. My practice is generally quite research-heavy, so it was a great opportunity for me to learn more about my ancestral heritage, traditions, rituals, artifacts, and history in general.
Before my Master's degree, I was mainly a painter with some background in ceramics, photography, and one performance, so I wanted to expand to other mediums once I had the resources and facilities at the RCA as a way to remove limitations when expressing and communicating my ideas. Those happen to be metal and sound work. I always felt intuitively drawn to metal, and while working on the first sculpture with that material, untitled [the sacred fire], 2024, my research revealed to me that my ancestral craft was metal work, which was a notable confirmation that I am heading in the right direction.

How do your Central Asian background and the cultural and spiritual concepts you explore inform and enrich your artwork?

My background indeed facilitated my interest in these metaphysical concepts and spiritual practices. People from my home country generally place a great emphasis on transcendental values and ideas, which becomes even more evident when looking at our culture, traditions, folklore, and art. Kazakhstan also has a lot of sacred ancient sites, which are absolutely fascinating and have a rich history. Some of the values and beliefs of Tengrism, an ancient religion practiced by nomads of Central Asia, still remain present. These include ancestral worship, certain rituals and traditions, and harmony with nature and its elemental forces. For example, my recent project, whispers of the Steppe, which I see as a poetic exploration of a Central Asian identity, culture, and ancestral heritage, takes a lot of inspiration and references from these cultural elements. For now, it includes two metal sculptures untitled [the sacred fire] and ancestral dreams, a performance tusau keser, and a series of soundscapes based on deities from Kazakh mythology. As I mentioned earlier, this project is my way to reconnect with this part of my identity and honor my ancestral histories since all of these influences inevitably shaped who I am and what I do today.

***Untitled (the sacred fire)***, 2024 © Alina R.J

As a multidisciplinary artist, how do you decide which medium to use for a particular piece, and how do different mediums help you communicate your ideas more effectively?

This is probably not a good answer, but I just intuitively feel it. :) Ideas usually come to me in the form of visuals, which I then work on through my research, both conceptually and practically, before the artwork comes into its physical form. Although, some of the works are a result of pure experimentation and play, especially when it comes to sound art. Often, I also explore the same concept through different mediums to achieve other dimensions of understanding. It is like unwrapping different layers of a gift packaging yet never being able to reveal what is actually inside.

Your work is deeply influenced by Eastern philosophies and Jungian psychology. Can you elaborate on how these disciplines shape your artistic approach and themes?

In my practice, I am mainly interested in exploring the Jungian concepts of Individuation, the process of discovery, realization, and integration of what one's Self truly is and everything it could be once any false wrappings are disposed of.Eastern philosophies deeply resonate with my own view of the world, which then facilitates my own process of Individuation. In addition, I practice meditation to explore my own inner landscape. The visuals I see during my practices often serve as inspiration for the work I make, which was the case with seeing the unseen I/II and unlocked (if I sell my soul, would you let me go?).
By synthesising all the research and readings I do and integrating it with my personal experience, I use my art as a space, where I share my reflections with the audience. Simultaneously, utilising my art as a tool to take these reflections further to a non-verbal medium helps me to see things from an alternative perspective and activates a whole other cycle of introspection.

You also create art healing workshops based on art therapy principles and energy work. Can you tell us more about the inspiration behind these workshops and their impact on participants?

Being both an artist and a Reiki practitioner, I wanted to combine my practical and theoretical knowledge to provide a space to be present and reconnect with yourself through an embodied experience. It is my way to be of service to this world and further facilitate the participants' journey of self-discovery.
It starts with a guided meditation to let the participants reconnect with their bodies and feelings, followed by a painting session to externalize and release any emotions that seem to be stagnant in the inner space. The creative process is healing in itself, and the painting technique I am using for this workshop is focused on repetitive motions to deepen the meditative state. Reiki will support the entire process of rebalancing the energy field and enhancing the healing process.
I was receiving lovely feedback from the people who took part! They mentioned that they would leave feeling lighter, more centred and serene as well as get to know parts of themselves that they did not know before.

***11:33 divine intervention***, acrylic, ink and oil sticks on canvas, 2024 © Alina R.J.

Your practice seeks to uncover timeless truths by blending contemporary issues with ancient knowledge. How do you find and maintain this balance in your work?

I find it fascinating to apply the research I do on ancient philosophies, cultures, and ideas to the contemporary context and the world we live in now. I always felt like a lot of these worldviews, beliefs, and practices, such as living in accordance with natural cycles and seasons, make so much sense. Although it seems like the world after the Industrial Revolution and with this whole transnational digitalization started to lose this connection to the wisdom of the past. It is also interesting how science is now discovering parallels with ancient knowledge, which emphasizes its value in the modern day. There is a wonderful book, The Tao of Physics, by Fritjof Capra, which discusses correlations between quantum physics and Eastern philosophies, Taoism in particular. I explore or take inspiration from many of these concepts in my art practice, thinking about how these would be applied to the context of an individual or the collective.

In a world dominated by external distractions, your art emphasizes the importance of the internal world. What techniques do you use to draw viewers into a space of contemplation and introspection?

Continuing from my previous answer, apart from losing the connection to the wisdom of the past, the general focus of humanity seems to have shifted from the internal to the external world. The overabundance/excess of external distractions and information overload just take us further away from ourselves. My work can be characterized by stillness, tranquillity, and certain magical or ethereal qualities as an attempt to escape the fast-paced reality we live in, slow down time, and hold the space for introspection. I also love using metaphors and symbolism in my work since everyone has different associations and sees different things. This can already tell the viewer a lot about themselves and hopefully be a starting point for self-reflection.

***Seeing the unseen***, 2023 © Alina R.J.

***Seeing the unseen II***, 2024 © Alina R.J.

Let's talk about the future. How do you see your work evolving in the coming years? Your work focuses on spirituality and inner work while the world is going towards AI and technologies. How do you think this willimpact your work, if at all?

The installation Sky Chronicles II, which is featured in the September issue of Al-Tibe9 magazine, actually reflects on how humans and nature can coexist with technologies, using these to our advantage. Although it is quite easy for it to be a thing that further disconnects us from ourselves, technological development seems to be a natural course of where humanity is heading, so we just need to accept it and be mindful to ensure we use it in a way that enhances our life rather than brings more harm. I genuinely believe that creative work produced by AI can never replace something made by humans. Whenever I create work, I leave a part of my soul there. Energy and sentience are things that a machine cannot replicate, and I am sure people can feel it when they interact with an artwork.
Regarding my future plans, I do have certain projects in mind and would love to take my work to a bigger scale and possibly create some site-specific installations. However, I still like the element of uncertainty and do not want my plans to be too rigid. My practice is quite intuitive and a lot is based on the experiences I go through, which I indeed cannot predict.

And lastly, what are your upcoming projects? Do you have any new work or exhibition you want to share with our readers?

I am continuing my sonic exploration of Kazakh mythology and planning to release more soundscapes. In addition, I am still planning the second performance of the series dedicated to Central Asian culture, which will involve a ritualistic practice around fire inspired by rituals of Tengrism. This is what the sculpture untitled [the sacred fire] was made for. Although, the most challenging part is finding the appropriate location for that.
I would also love to take part in artist residencies, so I have a couple of separate projects in mind for that, mainly working with sound or painting.
I recently had a show where I presented my sound work, and I also took part in another show in Venice last month, which was all very exciting! The next upcoming thing is an auction of my paintings on Peggy, an online art marketplace I collaborate with, and another show in autumn. The details are still TBC, but I will be publishing everything on my social media!

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