Ileana Moro
Ileana moro is a cuban-costa rican artist, based in Antwerp, Belgium. She expresses her artistic vision - self taught through oil on linen.Her work encompasses ethereal and enigmatic semblance, often abstract in nature, while intentionally avoiding the human figure. Instead, she delves into transient, mystic, and psychological subjects.
Her paintings is recognized for its exploration of dark tones, aiming to reveal the depths and layers of human shadows and the instinctive connection to the invisible realm. With a deeply personal artistic process, she is rooted within her own being, evoking a strong sense of nostalgia. She believes that human beings are shaped through emotional expression, self-discovery, and the unfolding of the soul, both individually and within the collective sphere.
“It is eminent there is a constant that is beyond, what the rational world could offer and the awareness intervention from the higher cosmos is present in each individual.”
She views shadows as powerful teachers, dark omens that guide her artistic exploration.
- Art: Ileana Moro
When did you start to consciously realize that painting is a true projection of your inner self, and what was the initial trigger?
I believe that the realization of painting as a true projection of my inner self was not a conscious decision, but rather a deep feeling that emerged organigly while I am alone in my studio. There have been moments when I’ve been so moved by the process of painting that tears would well up within me. These tears were genuine and couldn’t be faked. Additionally, there were times when I would feel a surge of anger and would even hit the canvas. I think the initial trigger for me is that I knew inside a strong desire to express myself, to communicate my thoughts, emotions, and experiences through the medium of painting or words.
During the creative process, do both sensory perception and rational awareness coexist for you, or does one tend to predominate?
During the creative process, both sensory perception and rational awareness coexist for me. It’s crucial to strike a balance between the two. If I solely rely on sensory perception, my paintings may become dark and cynical, which I personally enjoy but may not resonate with everyone. On the other hand, if I rely solely on rational awareness, my paintings may lack emotion and a compelling narrative. Rational awareness helps me understand the world and people from different perspectives, while sensory perception allows me to tap into my emotions and create meaningful artwork.
In some interviews, you mentioned that "transformation is a destructive process." How do you interpret this statement?
When I mention that ‘transformation is a destructive process,’ I am referring to my own personal experiences. Transformation often involves breaking down old patterns, beliefs, and ways of thinking, which can be a painful process. However, through this destruction, there is also an opportunity for healing and growth. This statement is a reflection of the challenges I have faced in life, and how they have ultimately led to my personal and artistic transformation.
Your works often exhibit a tonality resembling "darkness," but under the influence of light, they gradually acquire aspects such as strength, contours, textures, and gloss. How do you coordinate your relationship with light?
In my works, I often incorporate a tonality resembling darkness, indeed. But I also introduce elements of light. This is inspired by my admiration for paintings from the old masters, where the subtle use of light adds depth, texture, and a sense of mystery. I aim to implement this beauty in my abstract paintings without relying on figurative elements.
If painting is considered a medium, how do you use it to establish a connection between your inner "microcosm" and the objective existence of the "macrocosmic universe?
Establishing a connection between my inner ‘microcosm’ and the objective existence of the ‘macrocosmic universe’ is something I am actively exploring through my paintings. While I believe there is a connection, it is not an easy concept to express tangibly. In my artwork, I wrote An attempt to translate the untranslatable, means from sources beyond the tangible world.
