10 Questions with Mano Liliya

Mano Liliya was born in 1989 in the Donetsk region of Ukraine. She has previously worked and lived in Kyiv, and now she is based in Switzerland. In 2023, she attended the CREATIVE CAREER COMPASS 2.0: Strategies for Art Business Success course and the ArtSalesMaster Online school of Anastasia Strizhkova. Between 2019 and 2022, she studied and worked as a teacher in the art studio "Yaskravo" by Olesya Tkachenko in Kyiv Ukraine. Previously, in 2011, she graduated from the National Academy of Management in Kyiv and in 2006 from The Donetsk School of Fine Arts.

manoliliya.su | @mano_liliya

ARTIST STATEMENT

In her artistic expression, the artist delves into the intricacies of duality, probing the coexistence of beauty with peril and the innate dual nature within phenomena. She handpicks symbols encapsulating this multifaceted reality, deploying them as conduits to explore themes such as aesthetic allure, resilience, metamorphosis, and the lurking shadows of dangers. She posits that the quintessence of beauty unfolds in the harmonious tension between contrasts, in the symbiotic dance of opposites.

Her artistic journey is a quest for equilibrium, weaving together visual magnetism with coatings of conceptual significance. Each creation emerges from an introspective journey, where personal narratives and intuitive insights intersect with the vast tapestry of cultural and historical narratives.

For her, art is a quest for answers to timeless inquiries regarding the nature of beauty, power, and fragility. It acts as a reflective surface for her inner universe and a portal to the external world, inviting viewers into a dialogue with universal truths through the prism of her artistic voyage.

INTERVIEW

When and how did you start getting involved with art? 

My path into art feels like it was always laid out before me, yet it took years and a detour through a completely different career to truly embrace it. I've been painting for as long as I can remember. My parents saw this spark in me and nudged it into a flame by enrolling me in an art school. That's where I spent five years getting a formal education in painting, laying the foundational stones of my journey in art.
Interestingly, my first venture into making art for others wasn't through galleries or exhibitions but by helping my classmates with their art homework. This was my first taste of sharing my art, and it felt good, even if it was just among friends.
Despite this early connection to art, I studied economics. I started a career in that field, a detour influenced by practical advice and societal pressure. I'm from a small town where pursuing art as a full-time career isn't traditionally viewed as feasible. But deep down, I always knew where my passion lay. Working in economics taught me a lot, including what it feels like to be entirely out of place. That's when art studios became my refuge, a place to return to myself after long days at work. I explored different styles, mediums, and subjects there, keeping the flame alive.
My turning point came when my friends began to notice and appreciate my art. They encouraged me to share my work more broadly and questioned why I wasn't pursuing my passion full-time. Their interest and inquiries sparked something in me, leading me to take my art more seriously.
Taking a step further, I started participating in group exhibitions. These experiences were eye-opening, introducing me to the art community and teaching me the value of connections. Then, a chance arose quite unexpectedly—a spot opened up for a solo exhibition because another artist couldn't make it. I quickly jumped at the opportunity to learn everything about putting on a show. That experience, especially the positive feedback from visitors, was a turning point. It showed me that not only could my art resonate with others, but it could also sustain me. I realized that what had been with me since childhood deserved to be the center of my life.
Looking back, I see my journey not as a straight path but as a series of stepping stones, some submerged under doubt and societal expectations, others basking in the sunlight of encouragement and self-discovery. Each step, each moment of hesitation, and each leap of faith were necessary to bring me to where I am today—a place where I can proudly say I am an artist, not just by passion but by profession as well.

Are you still following the same inspiration? And how did your work evolve over time?

As time marches on, I find that both the world around me and myself change, sometimes subtly, sometimes dramatically. Contemporary life's rapid pace and constant innovation naturally influence my art. Yet, despite these shifts, certain things remain steadfastly at the heart of my inspiration—the profound joy and wonder I find in nature, flowers, the sea, animals, and not least, the essence of womanhood, the female form, and its role in life.
From a young age, I've been fascinated by the natural and feminine's intrinsic beauty and complexity. My mother used to say I had a peculiar habit with new dolls; I would undress them to understand their form. This curiosity about uncovering the essence of things has stayed with me. My first computer opened a window to the art world beyond my immediate environment, where I encountered the work of Boris Vallejo. His paintings, filled with beautifully rendered nudes in fantastical settings, battling monsters or serpents, struck a chord with me.
Over the years, my technique has evolved, and my understanding of anatomy has deepened through countless hours of study and practice, including attending live drawing sessions to sketch from life. My engagement with the art community has grown as well. Visits to museums and galleries, interactions with fellow artists, and the continuous exchange of ideas and feedback—all these experiences have left their mark on my work.
This evolution is not just in technique or subject matter but in how I see the world and translate that vision into my art. The fundamental inspirations remain, yet how I interpret them today is more affluent, infused with years of learning, growth, and the myriad experiences of life. My art is a living, breathing entity, changing as I change, growing as I grow. It's a reflection of both the world outside and the world within, a dialogue between the past and the present, the timeless and the ephemeral.

You primarily work with painting. What inspired you to use this specific medium?

Since childhood, drawing and painting have held a special place in my heart, and color plays a pivotal role in my expression. Over the years, I've experimented with various paints, but through these explorations, I developed an affinity for oil paints. Their pliability—the way they allow layer upon layer to be applied and re-applied—offers a depth of color that truly resonates with my vision.
Oil painting aligns perfectly with my approach to creating art. I often spend considerable time on a single piece, making adjustments and changes until it feels complete. This medium allows me to experiment and change layers, and the artwork evolves. There's something profoundly satisfying in building up a painting, layer by layer, each stroke adding to the narrative until it whispers that it is finished.
There may be a hint of the traditionalist in me. I find a deep connection with the classic painting style, much like I love the tactile feel of turning the pages of a book. The oil painting has a rich link to the past that feels timeless and deeply personal. It demands patience and offers endless possibilities for exploration and expression, making it the perfect vehicle for my artistic journey.

How would you define your style? And how has it evolved over the years?  

Defining my style has always been one of the more challenging questions for me to answer, especially in today's world, where traditional boundaries between styles have become increasingly blurred. If I were to concoct a recipe to describe it, it's a dash of Fantasy simmered in the broth of the Renaissance, with a seasoning of Primitivism.
This unique blend reflects my artistic journey and how my style has evolved. The Fantasy element speaks to my love for the otherworldly, the capacity of art to transcend reality and explore realms of the imagination.
The Renaissance has always fascinated me with its emphasis on humanism, proportion, and perspective. This period's revolutionary approach to art and its exploration of the human condition influence the depth of my work, which strives for a balance between the ideal and the real, the divine and the earthly.
Primitivism brings a raw, emotional quality to my work, drawing on the energy and simplicity of forms. It's about capturing a subject's essence, stripping away the complex layers to reveal its core. This style allows me to explore and express more instinctual, raw emotions and connections with the subjects I depict.
Over the years, my style has reflected my personal growth, a fusion of influences shaping my artistic perspective. It has matured, become more nuanced, and remains open to exploration and change. Like any artist, my style is a living entity, evolving as I evolve, shaped by experiences, discoveries, and the endless quest for expression.

What is your creative process like? Do you have a specific routine or a set of actions, or do you work more spontaneously? 

My creative process starts with the search for an idea that sparks my interest or challenges me. I ponder what the painting will convey and which images and symbols to use. This initial phase involves a lot of observation and research—studying the curves of plants, exploring colors, scouring the Internet, and visiting museums and galleries to sketch and gather inspiration.
Once I move to the canvas, the painting often takes on a life of its own; what I imagined at the outset sometimes diverges significantly from the final piece. This discrepancy between expectation and reality is a fundamental part of my process. My approach to painting is meticulous and unhurried. If I'm dissatisfied with how a piece turns out, I'll set it aside and engage in something else, allowing my subconscious to mull over the problem. It's not uncommon for me to pause for months before I figure out how to proceed. On average, a medium-sized canvas can demand up to six months of work.
Ironically, despite being quick and temperamental daily, I am painstakingly slow and deliberate in my art. This contrast puzzles me, as I sometimes envy artists who can work swiftly. However, the slow pace allows for depth and precision that I would maintain.
Preparation is also vital to my process. Before I can begin, I need to ensure that there will be no distractions, that I have ample time, and that I'm not rushed. I like to start with a coffee, sit by the canvas, and play some inspiring music—often opera, with Maria Callas being a favorite. I assess the scope of work for the day and decide on specific areas to focus on. My ideal conditions include a clean workspace and good natural light.
This meticulousness is partly due to my perfectionism, which can be both a curse and a boon. It often leads to dissatisfaction with my work but also drives me to achieve results I can ultimately be proud of. This painstaking attention to detail and my readiness to revisit and revise my work are fundamental aspects of my creative identity.

In your statement, you recall using symbols. What are these symbols, and what do they represent for you?

In my art, symbols serve as the conduits for deeper connections and mythological aspects, playing a pivotal role in my work's narrative and emotional depth. The serpent, a recurring motif in my paintings, encapsulates duality and complexity. As I was born in the Year of the Snake and under the Gemini sign, I feel a profound affinity with this mystical creature. It embodies strength, grace, and mystery, challenging viewers to interpret its presence through their personal lens—whether as a harbinger of good or ill, curiosity or fear.
Flowers, another significant element in my repertoire, are imbued with many symbolic meanings and emotional undertones. They represent the passage of time, the changing seasons, and life's transitions. My name, Liliya, connects me further to the floral world, enhancing my fascination with the language of flowers. Like the serpent, flowers invite the viewer to ponder the mysteries of nature and the human spirit, highlighting the beauty and complexity of life. 
These symbols are not chosen randomly but are deeply personal and reflective of my experiences and beliefs. The serpent and flowers are rich in cultural and historical symbolism, offering layers of meaning that enrich the narrative of my artworks. Through them, I explore themes of transformation, beauty, peril, and the eternal life cycle, inviting viewers into a dialogue that transcends the visual to touch upon the universal and the intimate.

What do you hope that the public takes away from your work?

I hope that viewers find their reflections and emotions within my work, recognizing that art, much like conversation, is subject to individual interpretation. A painting is not an encyclopedia but a medium of feelings; the emotions it evokes in each person are beyond my control. My aim is not to dictate what the audience should feel but to offer them a canvas that speaks in the language of emotions, inviting them to engage and interpret through the prism of their experiences.
An example that profoundly illustrates this point occurred when I visited an exhibition in Zurich with my mother. The paintings depicted the interiors of a castle, bathed in bright reds and yellows, full of light. Yet, to my mother, these scenes recalled explosions and fire, influenced, no doubt, by the ongoing war in Ukraine, which has, over the years, altered our perception of specific imagery.
This experience reinforced my understanding that art is deeply personal, both for the creator and the viewer. As I imbue my canvases with my own emotions, each viewer filters these through their unique perspective, shaped by their experiences, thoughts, and feelings. I hope for a connection, a moment where the viewer feels something, anything, that resonates or challenges them. The beauty of art lies in its ability to transcend language and personal barriers, offering a shared space for reflection, emotion, and, ultimately, understanding.

Is there any other medium or technique you would like to implement or introduce in your practice?

Recently, collage has captivated my attention, and after creating several pieces, it's the next avenue I want to explore in my art. I'm drawn to collage for its limitless possibilities in terms of imagery and expression. Integrating collage with my painting could forge a fascinating blend of the classical and the contemporary, merging different epochs in a single piece.
Additionally, the allure of pottery has been growing on me. My recent experiences with clay have opened my eyes to the joy of creating art in three dimensions instead of the canvas's two-dimensional plane. This tactile experience of shaping art with my hands, of feeling the material take form, is profoundly satisfying and vastly different from painting.
There's a part of me eager to break free from the traditional boundaries of the canvas and explore the realms beyond conventional painting. I must fully immerse myself in these new mediums and techniques, expanding my artistic practice into new dimensions and territories.

What are you working on now, and what are your plans for the future in terms of new projects? 

I'm currently preparing for a solo exhibition, which is consuming all my thoughts and energy. In parallel, I'm also involved in a collaborative project titled "Reformation," which delves into themes of anxiety, migration, and war. This project is more of a social venture, so we're seeking grants or residencies to help bring it to life.
Planning too far ahead is challenging when so much of my focus is on the here and now, especially with the upcoming exhibition. This will be my first solo show in Switzerland, where I've lived for two years. As an immigrant, I'm still building my network and connections in a new place, so I'm eager to see how the exhibition is received. It's an opportunity to gauge the audience's reaction and interest and reflect on my feelings about the event.
After the exhibition and before embarking on any new projects, I plan to rest and gather inspiration for future endeavors. This year has been hectic for me, not just professionally but personally as well. My solo exhibition is scheduled for May in Basel, and in June, I'll be celebrating my 35th birthday—a day I always look forward to as a significant personal celebration. Then, in September, I have my wedding. It seems that 2024 is shaping up to be a fortuitous year for me, filled with professional milestones and personal joy.

Finally, what is your biggest goal for 2024?

After a year brimming with personal and professional milestones, my biggest goal for 2024 is to secure an artist residency. It is an ideal transition following my honeymoon, a chance to immerse myself fully in an art-centric environment. I'm open to new experiments and ideas, eager to explore directions in my art that might differ from my previous work in form while still capturing the essence of my thoughts and identity.
This residency would provide a space for deep focus and creativity but also offer the opportunity to engage with new communities, techniques, and perspectives. I aim to create something unique—an evolution of my style and approach that remains unmistakably mine.

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.