Artist in conversation: SOF
‘“work hard, play hard!’’
Sof grew up in France, where her creative education began at the age of fifteen with studies in arts and design. It was during this time that she developed a passion for pixels and began exploring the technique of mosaic as a conceptual foundation. This research became a personal pursuit that she continued to refine over the years, alongside her career as an art director and graphic designer in advertising. As a side project, this exploration evolved without the constraints of external pressure.
Eventually, Sof felt compelled to move away from screens and fully invest herself and all her resources into the latest idea she had been developing. To ensure this transition, she left her comfortable life in Paris and embarked on building new professional and personal lives in Berlin. In developing her first four series, Sof was able to integrate and assemble many dimensions that the mosaic technique offers. Her initial goal was to transform mosaic in a way that honors the material itself. Through her continuous work with different materials, she came to the realization that matter truly matters. The subjects of her work began to emerge from the use and origins of these materials, reflecting the universal meanings that human beings attach to them. The result is a body of work that Sof intends to be both physically and intellectually engaging. It represents the development of a synergetic system with limitless possibilities. She is committed to further exploring these possibilities through other meaningful materials and to sharing this process with others who find significance in her work.
What initially inspired you to become an artist, and how did you develop your unique style?
I studied applied arts since I was 15. I never imagined to set myself as an artist. It happened rather organically. As a teenager the digital pictures were only starting to be popular and I sold my guitar to get a digital camera and have fun on the hacked photoshop set on my parents’ home computer. I was just fascinated by the system behind digital pictures. This mosaic of virtual particles defining a whole visual by responding to specific codes was to me mesmerizing. After a little bit too much of zooming in I decided to take mosaic as a subject of research for my own amusement. I didn’t consciously tell myself that this is an art project. It actually turned over time rather in a design direction. Only by starting to actively work (full time) on its last evolution a few years ago, I started to realize that the materials that I started to explore had the potential to hold their own actual subjects.
In terms of subject matter, what themes or motifs do you frequently explore in your work, and what draws you to these topics?
As I started to explain in the first question, the subjects or themes started to develop themselves according to the materials I was using. It’s a little bit like if the material had things to say about its relation to us. It feels like I only need to play around the material to find its meanings, even by naming it. I categorize the materials that I chose to explore by series. Each series finds its name according to that material and what represents it the most. Then I try to give a second meaning to that title by mixing its letters as an anagram. This is, like the pieces I produce, a system that anyone can use to play with. Through the first four series that I produced I explored themes such as Walls, Industry, Earth or the Ego. These were given not by me but by the use of the following materials: Concrete, Steel, Clay and Chrome. I have multiple plans for other materials to use such as Wood, Glass, Micro-organisms and so on. I also want to take it from the other side and chose the materials according to the subjects and therefore explore subjects such as Faith, Memory, Fear, Money or Data.
How do you navigate the balance between self-destruction and re-creation as a way towards conscious Happiness?
Very interesting question, it feels like it was written exactly for my work rather than for me. In fact, destruction and re-creation are a big part of my work so far. In my research on mosaic, I lift the fact that tesserae can be simply broken or shaped pieces from raw or upcycled materials. That’s an aspect that I tend to explore in the four series presented on lightmatte.rs The steel pieces, from the series CHIMNAES, are meticulously shaped and produced from upcycled material, carrying this re-creation aspect. The concrete series called SAWLL is infused with destruction bits of a former school. Some of the tesserae are finely shaped and some other are broken. Some of the school destruction bits are also shaped. The series ARTHE is all dry clay getting broken and then carefully glazed and shaped. One piece which exploded in the kiln got even fixed using a sort of concrete kintsugi. Finally, the series GEO is about precision shaping and perfection. All in a broken like geometrical pattern. To answer the question, the creative journey is all about destruction and re-creation. But the self-destruction I don’t know. Anytime the re-questioning becomes too heavy for me to handle, it’s like if I had a natural reflex to back up and forget about the whole thing even for a short time. Interestingly I would say that sometimes a creative person needs a good break! It’s possible to start on a good base again only after that break (that only sentence could answer the question). However I’m consciously happy anytime I step in my workshop. Now about what I produce I think that I will forever question it. That’s the way it is and that’s what leads to an evolution over time. I try not to have regrets on what I produced as my sight changes but I also don’t hold my self-critic in order to stay aware of the other potential directions to explore.
Can you discuss a specific piece or project that challenged you as an artist, and how you overcome those challenges?
Each piece that I’m satisfied of was a challenge. I’d say that the whole project was and still is a challenge. It was a challenge to make it happen, physically, emotionally and financially. Now it’s a challenge to kick it and get it seen. To pull the interest of the right people so that it can finally take that turn that we all aim for as new artists. It’s the only way that I can pursue this project and explore all these new pieces that are already forming in my head (and soon sketched online). The materials and techniques that I use are very expensive that’s why I can’t get any further without further fundings. That’s my challenge at the moment!
How do you stay connected with other artists and keep up with new developments and trends in the art world?
My studio was located in an artistic center in the last years, along with many others. That was inspiring. Social medias are always a good way to stay connected but I have to say that during the whole creation process I stayed quite disconnected. I think I subconsciously didn’t want to get influenced too much but rather let myself guided by the experience of the materials. I don’t know if that was good or bad. I would probably do it differently now that I actively started to develop my instagram account (@sof_afhb).
How do you incorporate feedback from critics and audiences into your artistic practice, and how do you balance this feedback with your own artistic intuition?
On the one hand I’m sensitive to critic. On the other I like honest critic and even if it can hurt to hear some truth on the moment, it can always be constructive. It’s just important to step back, take a break (again!), and sort out what’s good or not to take in consideration. It’s just a good occasion to gather anger and come up with better stuff!
How do you stay motivated and inspired despite any setbacks or creative blocks you may encounter?
I give myself no choice. I think it’s about having the warrior spirit. I come from the field of advertisement which is very competitive and where creativity is a feature that you train daily. It’s your job to come up with stuffs every day so I guess that I learned there that it’s all about the goals that you set to yourself. And it’s again never so good to stay head down but rather give your brain a break, look by the window (don’t jump!) and inspiration can then come from anywhere.
How do you feel about exhibiting your artworks with The Holy Art Gallery?
I already did. Sadly, I couldn’t be at the opening because I had another exhibition at the Dutch Design Week on the same dates. It seems to be a good way to meet other creatives and to get feedbacks on your work. Just need to be there for that. Very nice staff though.
Looking ahead, what are your long-term goals and aspirations as an artist, and how do you plan to achieve them?
Work hard play hard!
