Interview with Symona Colina
Born in Ridderkerk, the Netherlands, in 1954. Participated in a number of exhibitions in several countries: the Netherlands, the United States, Italy, Spain, Belgium, England, Bulgaria, the Czech Republic, France, etc.
"My work is like the wind, perceiving perspective.
A perspective that touches and surrounds me.
Perspective, in its essence, forms the source of my work and sparkles in its endless interfaces."
Many years ago...
Almost yesterday…
I came across a beautiful box with colored pencils.
It was a bit like looking at a rainbow and finding a rainbow.
I picked up the box filled with these colored pencils.
I sat down in the evening light and started to draw.
Not knowing, at the time, that it was the beginning of a never-ending story...
Now, since time has passed, the colored pencils are like once in my now old hands.
Although I learned a lot and came a long way...
Within time, I came to know that I was not far from the beginning of this never-ending story.
Since picking up a brush or pencil gives wings to fly for this wonderful journey into perspective.
Symona Colina
You’ve mentioned the moment you discovered a box of colored pencils as the beginning of your artistic journey. Can you describe how this influenced your early artistic explorations and the development of your style?
I remember that day well. I lived at the time in the north of Holland, in Groningen. A lovely box filled with colors. I could take it or leave it, or just have a look.
I took it, and surrounded by the twilight, I started to draw. I reached out for my horizon and discovered I was holding it in my hand. It felt a bit like William Blake’s “Songs of Innocence and Experience: Hold Infinity in the Palm of Your Hand."
I still have that first drawing, “Vrij” (free), as I named it.
In the years to come, I learned to hold, with trial and error, this gift firmly in my hand.
Over the years, from the Netherlands to various countries where you’ve exhibited, how has your artistic style and approach evolved?
Yes, I am Dutch and a big fan of Escher, Bruegel, Vermeer, Bosch, etc.
I have been living in Italy for quite a while now. Almost 30 years already. Caravaggio, da Vinci...
How time flies, one evolves without any doubt in ways I wouldn’t even have thought possible. Supposedly, even from participating in various exhibitions, although it’s a low percentage on my life's timeline.
I’m evolving into an elder, I am fortunate at this.
I think life crystallizes in this phase, if you're lucky.
And "yes," perspective is a wonderful journey indeed.
Today I left footprints on the shore and noticed the wind on the water. And I found a grain of sand, its name was Amber, it meant the world to me.
I could have hummed the lullaby, “Merely, merely, merely me... Life is but a dream," together with the wind.
Your work emphasizes' spatial perception, spatial thinking, and contemplation.’ Could you elaborate on how you incorporate these elements into your creative process?
There are many ways to represent perspective in a two-dimensional frame. One-point perspective, two-point perspective, three-point perspective, inverted perspective, Atmospheric, linear, and intuitive (spatial perception, spatial thinking, etc.)
I mix up these different aspects, perspective it is all the same. I call it the surrounding perspective. I just pick up the pencil or brush and start off with a point to follow the wind.
Picking up a brush or pencil gives me wings to fly with, and I follow and am guided by the wind through space (contemplation). Embracing and surrounding all that is not air, the distance becomes more or less perceptible with a bird's-eye view, my birthday gift. And when time and brushes cannot make a significant difference, I call it a day. Or a painting, a drawing, or a piece of art.
Beauty remains in the eye of the beholder.
Having exhibited in numerous countries, how have the different cultures and environments influenced your art?
Exhibitions can be nice and satisfying events. However, it is a lot of work, mostly behind the scenes. Not only for me, but with all due respect, mostly for the ones who assist and organize.
I’m from the Netherlands, which is very privileged since Amsterdam is the place in the world to have a taste of all the corners of the world. The different cultures are represented in the many restaurants around the city.
You liken your work to ‘the wind, perceiving perspective.’ How do you hope your audience perceives and interacts with your art?
Interpretations… Each one of us is unique in how we perceive, interpret, and/or believe what we see.
A work of art beholds a sliver of the essence of the hand who put it into existence. I can only speak for myself and say that some artworks for me are more accessible than others, and some are not accessible at all.
Munch, Turner, Bosch, Caravaggio, and Breughel all walked this earth at different times. Their worlds differ from ours, just as your world differs from mine. I think we interact, or at least should try to interact with our essence. At times, it is visibly shining in our eyes. The silence of thought, the music of sight—evolving at times into communication.
Can you describe the impact and significance of receiving awards for your art, and how has this recognition influenced your creative direction and visibility in the art community?
Gosh, I do like awards; I cannot get enough of them. It’s very satisfying if someone appreciates your struggles, your hard work on a piece of canvas, your art, etc.
The Premio Firenze was the most impressive, I was honored with the Fiorentino.
I was awarded for the pencil on paper design “Anthracite”.
Italy is a country of art; there’s no country alike in the variety and enormity of art. The ‘Premio Firenze’ is a unique event, and at one of the most beautiful locations in Florence, the Salone de 'Cinquecento' in Palazzo Vecchio.
About the creative direction or visibility in the art community? Well, what can I say, I haven’t noticed significant changes. Maybe I simply haven't been aware of these changes.
What have been some of the most challenging and rewarding aspects of your artistic career?
Some call it the challenge of life. I don’t always succeed in conquering myself instantly. Usually, it takes a while.
In order to follow the wind, I have to be at peace and in balance. And when the silence of peace surrounds me, I fly as free as a bird can be, holding my horizon in my hand. In a certain way, it’s quite an effort, but I gain insight. Insight is a necessity for the balance life allows me to obtain.
Sometimes how we see is more important than what we see. The next canvas stretched onto the frame stands, awaiting...
You speak of spatial perception, spatial thinking, and contemplation, through which apparently infinity comes within reach’. Could you explain this concept and how it manifests in your work?
Perspective, the surrounding perspective, as I mentioned before... This perspective, depth, should be visible to the spectator. If not, then the situation is hopeless. Understanding fractals might be the best key for someone who wants to understand infinity.
I just don’t try to understand, therefore, I cannot explain.
Understanding is a gift hidden in the shadows, just waiting to be found.
One day, a long time ago, I found the horizon in the palm of my hand and learned to hold, with trial and error, this gift firmly in my hand while I balance on a surface when I dance with colors and shades...
Of all the pieces you’ve created, do you have any personal favorites or ones that hold special significance to you?
I suppose so in some way. The rhythm of my work is reasonably constant, like the base, giving structure to the tunes. Some drawings and paintings ended up with a better final result. Every single piece had its own interval in the timeline of my life and its own significance. As a matter of fact, it’s been my hand holding the pencils or brushes.
Sometimes I write down some words, a whisper from the time I worked on the pieces.
“Mare Mosso," “Forza Nove," "Fiera"...
At times, these are thoughts. At other times, these are experiences. Sometimes these are reflections.
All pieces are songs to see.
Our inner silence gives us the ability to hear.
With such a rich career in the arts, what advice would you offer to aspiring artists, especially those who wish to explore multiple disciplines and interfaces as you have?
Art has many interfaces. I’m just an artist who picked up the pencils and brushes, started with a point, and followed the wind. Since perspective is a wonderful journey. And perspective, fascinating as it is, surrounds me and is integrated in my essence.
It’s true, I was in circumstances that permitted me to dedicate myself to the fine arts. I work, and I work a lot. There is some need for persistence and discipline.
All is rhythm.
All is sound.
All is music.
