Could you start by giving us an overview of your artistic practice and the steps you took to become the artist you are today?

Since I was a child, art wasn’t just something I liked—it was something I had to do. My earliest “artistic experiments” were making little clay pots in the garden, drawing, and even crafting tiny furniture for my dolls. Later, I completed the Interdisciplinary study of Fine Arts and History at the Teacher Training University.  Over the years, I participated in various workshops and symposiums, where inevitably, in synergy with fellow artists, new visions opened up. Art is, for me, a blend of personal experiences, memories and the nature that surrounds me. All these elements have shaped the artist I am today.

Your statement mentions that creating art is an inner need that drives you. Can you elaborate on how this need influences your daily artistic practice and the themes you explore?

For me, creating is like breathing—something that simply has to come out. It’s my way of expressing emotions, thoughts, and views of the world. Every day brings new inspirations: the nature around me, my moods, the thoughts occupying my mind.

Besides nature, the stimulus can also be music or a book, or a physical problem.

Often, these ideas begin as little sketches or even just mental images that evolve when I start working with a material—wood, canvas, or paper. I like to keep my art honest and direct, and this inner need is always present, a gentle reminder that creating gives meaning to my life.

In what ways does the process of creating art serve as a form of research for you? Can you share an example of a specific project where this was particularly evident?

For me, art isn’t just about visual expression; it’s also a deep exploration—of materials, forms, but also my inner world. For instance, in the series “Black-and-White World,” I explored color contrasts, textures, and my own emotions within the context of contemporary life. Through working on this series, I realized how many layers of emotion and meaning a simple black-and-white palette can carry. Each piece in that series was like a testimony in my diary.

Your practice is a means of expressing emotions and experiences. How do you translate complex feelings into visual forms? What materials and techniques do you employ?

People say that it is hard to express emotions with words, so I translate them into shapes, textures, and colors. Wood is especially dear to me because it has its own “life”—its structure, scent, warmth—and that dialogue with the material often leads the work in unexpected directions. In painting, I combine mixed techniques; acrylic paint, sand, paper, and other different materials—to create layered surfaces that can convey feelings of complexity, inner turmoil, and sometimes peace.

Could you tell us more about your wooden sculpture, Feelings? What was the concept behind this work, and how does it fit into your overall artistic practice?

Feelings is a deeply personal piece. It’s about capturing emotions—the fleeting ones - intangible moments - and transforming them into something tangible and lasting.

We try to approach the complex process of emotions analytically and rationally, but life and emotions are a vortex and cycles that lift us up and down like a ship at sea, whether we are aware of it or not. "Feelings" is a sculpture with soft, smooth lines, but with the form, it expresses the duality between consciousness (analytical approach) and the subconscious.

Working with wood for this sculpture was especially meaningful because of its warmth and organic nature. It reflects my constant search for dialogue between the material and the emotion I want to express. The sculpture fits seamlessly into my broader practice, where the material often tells part of the story and invites the viewer to complete it with their own experiences.

You have a diverse background in sculpture, painting, and printmaking. How has this interdisciplinary approach enriched your artistic journey?

Working across different mediums has opened so many creative doors for me. When I feel physically exhausted from sculpting, I turn to painting or drawing, which offers a different kind of release. Each discipline feeds into the others, giving me fresh perspectives and techniques. Sculpture taught me to think three-dimensionally, while painting introduced me to textures and colors, and printmaking added a layer of precision and thoughtfulness. This blend keeps my practice dynamic and continually evolving.

In your painting Životi prohodu, a škoji ostaju, what inspired the specific composition and use of color?

The painting was inspired by the lyrics of Marino Franičević in the song "Životi prohodu, a škoji ostaju", which describe the rocks of the sea that will always remain while our lives will pass by. The eternity of nature and the transience of life.

This piece was also inspired by the coastal landscapes of my town, where the sea meets the land and the colors shift with the light. The composition reflects the balance between movement and stability, between the ever-changing waves and the steadfast rocks. The color palette is rooted in natural tones—the deep blue and the white rocks, land- blended with the emotional resonance of memory and place

In the context of your artistic practice, how do you engage with the evolving relationship between human-made materials and the natural world, and in what ways do you challenge traditional notions of materiality to foster sustainable practices that minimize environmental impact?

I feel a deep respect for nature and a responsibility to work in harmony with it. I often use reclaimed or naturally fallen wood in my sculptures, choosing materials that carry their own history and spirit. This approach not only minimizes environmental impact but also adds layers of meaning to the work. I’m interested in how traditional materials like wood can be transformed into contemporary expressions without losing their essence. It’s a way of honoring both tradition and innovation.

Art and artists play various roles in the fabric of contemporary society. How do you see artistic practices advancing sustainability and social consciousness?

Art has the power to open conversations and raise awareness, even in subtle ways. While my work isn’t overtly activist, it invites viewers to slow down, reflect, and reconnect with themselves and the world around them. I believe that this kind of quiet contemplation is essential in today’s fast-paced, AI world. By choosing sustainable materials and creating works that speak to the beauty and complexity of nature, I hope to encourage a deeper appreciation for both art and the environment.

What message or call to action would you like to share with our readers?

I would encourage everyone to nurture their own creativity, whether it’s through making art, enjoying nature, or simply taking time to reflect. Art is a universal language that connects us to each other and to the world. In these times, when so much feels uncertain, creativity can be a grounding force. I hope my work inspires others to embrace their emotions, to find beauty in everyday life, and to honor the natural world we all share.

Find more about the artist here.

Cover image:

Feels like home, sculpture spruce wood, 21x17x26.5 cm, 2022. By Darija Stipanic.

All images courtesy of Darija Stipanic.