10 Questions with Carley Adberstein

Carley Adberstein is a 24-year-old Austin-based artist whose work merges the technical with the inspirational. Born in Yorkshire, England, and raised in a military family, she moved often, absorbing experiences that would shape her artistic voice.

She holds a degree in biology with a concentration in neurobiology, so she approaches art by blending the analytical with the emotional. Where science has taught her to observe, art has taught her to respond. She works in many different mediums, including acrylic, gouache, ink, digital, and charcoal. Her work, often centred around animals, is about capturing an essence, an innate energy that is in all living things.

Though self-taught in fine art, her creative lineage runs deep. Surrounded by sculptors, photographers, painters, writers, spies, and engineers, she grew up in a world where both artistic expression and scientific inquiry were essential ways of understanding life. This is where she lives, where technical study and raw instinct work in harmony.

In addition to exhibiting her work in galleries and competitions, Carley has built a thriving art business and created an accessible space for her art to reach collectors and admirers everywhere. It is a journey of relentless curiosity, an ongoing experiment in pushing creative boundaries while staying true to the quiet power of observation.

thompsonstudio.art | @carleys.doodles

ARTIST STATEMENT

Carley Adberstein’s work is continually evolving, serving as a means for her to make sense of life. Once torn between a scientific background and a creative drive, she has come to recognize that while science taught her to observe, art allows her to respond. Her work is not about strict realism or replication but rather about presence, capturing the essence of a subject rather than its form.

Between passion and apathy, between joy and despair, and between the significant moments of life, there exist small yet profound instances of simply being. Through her art, Carley seeks to create those fleeting moments of peace, offering viewers a space of stillness and connection. In a world that constantly demands attention and reaction, her work provides a quiet refuge, an instant of peace just before the exhale, before life continues. She is drawn to this space because it represents spontaneity and possibility, where nothing is happening, yet anything could.

Bonobo, Acrylic, 20x20 in, 2025 © Carley Adberstein

INTERVIEW

What first drew you to art, and how has your approach evolved over time?

I've been drawing for as long as I can remember. As a kid, I would doodle on napkins, restaurant placemats, homework, the underside of the coffee table... Art was never something I consciously chose, it just happened. Like when your mind wanders, but on paper. Growing up with artists in the family, creativity was always around me, but it wasn't until I got older that I realized how deeply personal it was. Art became my way of making sense of things, slowing down, processing, and connecting with the world in a quiet, secret way.
Over time, I've learned to embrace both the technical and the emotional aspects of the creative process. I used to focus on making things look "right," but now I'm more interested in how a piece feels. I've learned to loosen my grip, trust my instincts, and let the imperfections speak. I don't focus as much on the result anymore, but I have come to appreciate the process. And because I'm enjoying the process, I feel happier about the results. Every piece teaches me something, about myself, about others, about the in-between moments in life we don't always stop to notice.

How has your background in biology and neurobiology influenced the way you create?

My science education gave me a deep appreciation for the structures and systems that make up life. It taught me to observe patterns, pay attention to details, and understand how perception works, skills that directly translate into my art. When I draw animals or explore themes of energy and emotion, I often think about anatomy, the movement of energy, and how things interact with their environment.
Studying biology, and especially neurobiology, changed the way I see the world. It gave me a deeper understanding of how everything connects, how light travels through the eye, how emotions are processed in the mind and expressed in the body, and how even the smallest component plays a part in a larger system. This naturally made its way into my art. I started paying closer attention to details, the curve of a muscle, the way light shifts across fur, and the subtle tension in a posture.
But it wasn't just about anatomy. Biology is a discipline that taught me to ask questions, to observe before assuming, and to appreciate complexity. That mindset shifted how I approach creating. Now, when I draw or paint, I'm not just thinking about how something looks, I'm thinking about what it says. I think that's why I love science and art, it feels like I'm honoring both sides of myself.

African Wild Dog, Acrylic, 22x28 in, 2025 © Carley Adberstein

Sunda Tiger, Acrylic, 18x24 in, 2025 © Carley Adberstein

Your work merges technical skills with emotion. How do you strike that balance?

For me, emotion is always the starting point. Once I've connected with a subject, I let that guide the technical side. I've found that when I focus too much on precision, the piece can lose its soul, so I often loosen up after laying the foundation. It's about knowing when to lean into structure, and when to let intuition take over.
I usually start with something I want to explore, something subtle, like quiet strength or vulnerability, and then I build the technical side around that. The anatomy, the lighting, and the composition are tools I use to support the emotional connection.
That said, I'm naturally detail-oriented, so it's easy to get caught up in trying to make something "perfect." Over time, I've learned to step back, loosen up, and let instinct guide me when things start feeling too rigid. Some of my favourite pieces are the ones where I let go of control a little and allowed emotion to shape the process.
It's definitely a balance, and not always an easy one, but when both parts are working together, that's when the art really feels alive. When they are not working together, that's when the artist learns a lesson. Accidents and failures are also part of the process, this is true in art and in life.

What role does observation play in your artistic process?

Observation is everything. I study reference photos, animals in motion, and people's body language; I'm constantlyobserving. I catch myself seeing the most random things in terms of composition. I believe there's a difference between looking and seeing. Seeing requires curiosity, patience, and empathy. When I interact with my subjects, especially animals, I appreciate the subtleties, a glint in the eye, a tilt of the head, the presence and the energy. I want my viewer to see those things the way I do because I think that is what makes a piece come alive. Those familiar details that people notice without noticing are the things the viewer connects with the most, even if they don't know why.

Borzoi, Acrylic, 11x14 in, 2023 © Carley Adberstein

You often depict animals in your work. What fascinates you about capturing their essence?

I love animals. I've admired and studied them my whole life. Working with animals in a veterinary setting is what originally inspired me to pursue biology. These animals were often nervous or in pain and I had to connect with them and get them to trust me. I learned how animals speak through energy and instinct, and how to respond to them the same way. There's a raw honesty about the way they carry themselves that I find incredibly moving. They're expressive without words, and I love trying to capture that purity and spirit. Animals are truly the intersection of my love of science and my love of art, and this is why I often depict them in my work. I want viewers to feel as moved as I do. Like they've shared a silent moment with the animal, heard its breath, and felt its heartbeat.

Growing up in a family of artists, scientists, and even spies, how did those influences shape your perspective?

My family background in art, science, and the military gives me a unique blend of curiosity and discipline. On one hand, I was encouraged to explore, imagine, and create. On the other, I was taught to think critically, analyze deeply, and stay grounded. My dad, who retired from the US Army, always told me to adapt and overcome and to use creativity as a problem-solving tool. The wide variety of influences in my life and the loving support I always received gave me permission to be both a scientist and an artist, structured and spontaneous. That duality still shapes everything I do. I think it's a wonderful way to look at life, to look for answers while relishing the journey.

Poised, Acrylic, 24x36 in, 2024 © Carley Adberstein

What emotions or ideas do you hope viewers take away from your work?

I can't easily express or conceptualize with words, but rather I think in images. The reason I love drawing or painting is that it expresses what is in my head. It's also why some of my work is un-originally titled "Horse" or "Monkey". Sometimes, I'm simply creating to share that image. Sometimes, I want to convey something specific. The point is that I want to invite viewers into what I see and then let them experience their own reactions. My work isn't about shock or statement; it's about creating a quiet space to just be. I want viewers to connect to my work and maybe exist inside it, even if it's just for a split second. Every person, every animal, every place, and everything has a story. I don't know that story. I'm just the artist inviting viewers to spend a moment between breaths, a moment of stillness, of presence and energy.
By creating, I feel free. I'm sure a lot of artists can relate when I say that when I'm creating, time stops. I sit down with my coffee in the morning to start painting, and five minutes later, it's dinner time. I hope viewers connect with that feeling of freedom or a feeling they can't quite name but that feels familiar. Maybe it's peace, empathy, or wonder. My goal is to invite people into that moment where nothing is happening, but anything could happen.

You work with many different mediums. Do you have a favourite, or does each serve a different purpose?

My style in each medium is very different. They all inspire a different mindset, creative flow, or level of excitement, so I choose a medium based on its personality and how well it suits my ideas or collections. Pencil is quiet and intimate. Charcoal is a contradiction - it brings you back to basics but is hard to master because it's messy but precise, flexible butstrict. Ink is creepy, bold, uncompromising, and experimental. Acrylic is freeing and fluid, and it is a dependable friend. Digital is spunky, limitless, and low-stakes, which makes it impossible to know if you've done too little or too much. Oil is like dealing with a toddler. It requires superhuman patience and an iron will, and I don't know if I'm ready for that kind of commitment yet. So how can I possibly choose a favourite?

How do you define success as an artist, both creatively and professionally?

I think I will always be searching for creative success. That's the whole purpose of being an artist, to experiment, explore, and constantly push your own boundaries. It's about striving to improve our craft. I love seeing how much I've grown artistically, but I don't think I'll ever feel completely satisfied, and in a way, that's what keeps the passion alive. With art, there is no endpoint. That's what makes it exciting and a little scary.
Professional success, however, can be measured in different ways. I've been accepted into several competitions, completed commissions, and sold prints, original pieces, and merchandise. By some standards, that is a success. Still, my long-term goals are to have my own gallery, selling my work on a larger scale, hosting shows, and growing my business into something more permanent.
The search for success makes up the majority of an artist's life. So as long as I continue to love creating, I will consider that a success.

Lastly, what's next for you? Are there any new themes or techniques you're excited to explore?

I'm sure this will resonate with a lot of artists, but the business side of things is not always the most interesting aspect of art. So, I would like to learn more about the practical side of being a working artist, like business strategies, marketing, and online presence.
I'm currently planning my first solo art exhibition with a new collection about endangered species, which I'm incredibly excited about. I've also been experimenting with pushing the boundaries of my comfort zone, using techniques like drawing with my non-dominant hand, which is humbling, freeing, and spontaneous. I'm also writing a book with my momabout creativity and overcoming art block, which involves experimenting with changing creative environments, conditions, and mindsets. Ultimately, I want to continue exploring that intersection of emotion, science, and art.

Artist’s Talk

Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.

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