10 Questions with Rita Gaspar

Rita Gaspar, a Portuguese self-taught embroidery artist based in Porto - Portugal, was born in 1997.  Her academic background lies in applied mathematics, and she has a bachelor's degree from the University of Lisbon, but surprisingly, she doesn't apply that in her art (for now).
During her first year of college, Rita discovered embroidery as a stress-relieving activity and became hooked. As the challenges of adult life persist, she continues to embrace embroidery both as a means to maintain her sanity and to nurture her creative instincts.

www.ritagaspar.com | @ritagaspart

ARTIST STATEMENT

Rita aims to challenge the perception that embroidery is a simple craft reserved for grandmothers - something she heard quite a lot every time she mentioned she did embroidery. Also, she's too young to be a grandmother.

Her artwork reflects a deep passion for portraiture and an enthusiasm for exploring the vast array of colors available to her. Rita dives into the exploration of harmonizing colors, fabrics, and human faces in unique and captivating ways.

She cherishes the fact that each embroidery piece is inherently distinctive and nearly impossible to replicate, as no stitch is the same.

INTERVIEW

Let's start from the basics. How did you first discover your passion for embroidery, and what drew you to this particular craft?

Embroidery wasn't my first craft; it was crochet. After doing crochet for many years, I realized I really liked working with my hands, so the transition from crochet to embroidery wasn't that crazy. I followed a lot of social media pages about crafts, and embroidery kept being recommended to me because I liked crochet, so I decided to give it a try.
But it only became a passion when I started doing portraits; that's when it hit me that I really enjoyed this craft. It also helped that I started exploring portrait embroidery during lockdown because I finally had the time I needed to learn all the necessary skills. It was also a perfect escape from what was happening in the world.

Your background lies in applied mathematics. Does it help you at all in your embroidery projects? Or has it influenced your practice in any way?

I don't use anything specific from mathematics—no algorithms, equations, or coding (my teachers won't be proud!), but I do employ the same principle that initially drew me to that field: a love for logic. I enjoy deciphering patterns that work and then applying them consistently. That has been my approach since the beginning with embroidery—breaking down problems into smaller parts and finding what works and what doesn't.

What do you find most rewarding about working with embroidery as a medium for artistic expression?

The process of stitching and witnessing what small pieces of thread can create is truly captivating. Unless people have tried embroidery themselves, they often underestimate just how time-consuming it can be. Yet, despite taking a long time, stitching has an incredibly calming effect on me. Alongside reading and crocheting, it's one of the few activities I can engage in for hours on end without feeling restless or impatient.
Watching a project gradually come to life is immensely satisfying, and it's an experience that remains unique to the embroiderer. While I may capture some snapshots or record snippets of the process, others will never fully comprehend how the project evolves through its various stages. And that's precisely what I find most fulfilling—the ability to visualize how each stitch contributes to the final piece in my mind.

What inspires your choice of subjects, particularly your focus on portraiture in your embroidery work?

It might sound peculiar, but I love faces! While I find the human figure intriguing in general, it's the intricacies of faces that truly captivate me (which probably comes as no surprise when you see my work). I'm fascinated by the countless combinations of features that make up a face. It's incredible to think that none of us are exactly alike, and this diversity is mirrored in my embroideries. Even if I were to attempt to replicate a piece I've made in the past, it would never be identical. I've experimented with embroidering objects and animals, but most of those projects remain unfinished in my drawer. They simply lack the beauty and detail that faces possess. 

In your statement, you mention the process of harmonizing colors, fabrics, and human faces in your artwork. How do you approach this process?

It's amusing how, recently, many people have commented on my fabric choices, assuming I match the colors of my embroidery to the fabric, when in fact, I do the opposite. I select the fabric first and then seek out embroidery threads that harmonize with them. It's the one aspect of my process that defies logic and remains inexplicable to me. The selection of colors is something that happens naturally, almost instinctively.
I consistently work with black and white photo references to avoid being influenced by the original colors of the image. Despite this, I always find myself gravitating towards colors that complement the fabric rather than mirroring it.

Speaking of process, can you describe your creative process from conceptualization to completion for one of your embroidery pieces?

I can discuss my latest project because it involved a different approach from all my previous ones. It's the first time I've stitched two faces in the same piece, and it's also the first time I've used only two main colors for each face.
I wanted to create a piece that portrays two bodies connecting, conveying a sense of proximity and complicity. I then chose the colors green and blue because I believe they complement each other well. However, I didn't want to use a colorful fabric, so I opted to use beads to add color and depth to the piece. The faces are surrounded by multiple colors, but the beads for each face are opposite to one another: the green face has blue beads, and the blue one has green.

What challenges have you faced as an embroidery artist, and how have you overcome them?

Starting portraits was a real challenge. I'd wanted to try for a while, but with no art background and no drawing skills, I felt unsure. (I still don't know how to draw - apparently, I didn't need to!)
Another tough part? Time. Balancing a full-time job and the responsibilities of daily life doesn't leave much time to embroidery, and even when I have time, it's hard to make a lot of progress in a piece. It's not uncommon for a single project to span several months, and in some years, I only manage to complete three or four pieces. With embroidery you can't speed the project, it takes how long it takes.  
But I know lack of time is a problem for everyone, so I try not to put that much pressure on myself.

In what ways do you seek to challenge the traditional perception of embroidery as a simple craft reserved for grandmothers?

It's always amusing when people discover my passion for embroidery, as their first reaction is often, 'My grandmother used to do that too.' And just like that, the conversation typically comes to an end. Rarely do they ask to see my work. I understand their assumption—traditional embroidery is a common reference point, and it was mine as well until I stumbled upon thread painting and found my niche.
To challenge this stereotype, I enjoy surprising people with my embroidery pieces when they least expect it (no, I don't stop strangers on the street to showcase my art!). This is one of the main reasons I participate in art fairs—to showcase a different possibility within the realm of embroidery.
What I find truly remarkable is that I primarily use the simplest stitch in embroidery - anyone with needle and thread can do it. Is what I do with it that is different. 

Do you have any other technique or theme you would like to explore in the future?

I want to explore bead and tambour embroidery—apparently, I can't stay away from needles! I'm drawn to the way beads allow us to play with textures and colors in a unique manner, adding depth and dimension to a piece. I'm excited about the prospect of undertaking larger-scale projects and experimenting with wool instead of thread. 

And lastly, what future projects or directions are you excited to explore in your embroidery artistry?

I have several aspirations for the coming year. Firstly, I want to produce enough pieces to hold another exhibition by the start of the next year. I have a specific concept in mind, and I'm hopeful that I'll have the time and energy to bring it to fruition. Additionally, I'm excited to participate in art fairs, where I can showcase my artwork in person and have it featured in magazines. 

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.