Irina Broboană | Interview

Romanian artist Irina Broboană caught our attention with her latest projects and shared more about her works in an exclusive interview for The re:art.

How was 2013 for you? Tell us about this year’s projects and exhibitions and their impact on your artistic evolution.  

2013 is the best year yet.

On one hand I managed to finish and bring to galleries projects I had been working on for some time now, and on the other hand there were collaborations that gave me some “revelations” regarding the direction/ approach to my own art.

44 783

44 783, 2013

My pace is pretty dynamic, not that I work at full speed, but I spend a lot of time in the studio.

The most important project for me is 44 783. I started working for the project some time ago, it grew and changed much, I used various mediums of expression, from painting to drawing, photography and video. I’m very bound to the subject, and I often return to the child motif as I believe it best defines the latter adult.

44 783

44 783, 2013

The invitation to join the Good Girls exhibition at The National Museum of Contemporary Art was unexpected, and everything happened very fast. Soon (September 27-28) an international symposium will take place to mark the end of the exhibition and the launch of the catalogue.

I now work for Drawings of Joy, exhibition that will be launched very soon.  It’s a project that allowed me to play more with both the theme and technique.

What are the stances of women in your art and how do they relate to the position of woman in today’s society?

The woman is really not a constant presence in my project. Except for the Invidia (The Envy) series, women appear by chance in my work. In the sense that there is a self-referential component, and if I’d been born a man, my characters would also be men and the meaning of the work would be the same.

The Envy

Part of The Envy series

As for Invidia (The Envy), I was interested in the role play, the questioning and transformation of the body which leads to the decay of personal identity. The funny thing is that the project was inspired by a man, or better said a woman in the body of a man.

The Envy

Part of The Envy series

What do you think is the most important moment in the life of a man? What was the most important moment for you? 

I think the really important moments are so subtle, even volatile that they are so hard to define. Perhaps the emergence of a new idea, meeting a certain person, taking a risk or a decision are key moments that you can’t schedule.

The Waiting

The Waiting, 2012

Are personal experiences a source of inspiration for you?

As I said, the majority of my projects have a self-referential component (for example, 44 783 refers to an orphanage founded by my grandfather and the way I remember the time spent there), but I keep most to myself. I encourage people to create their own stories or versions, without giving them the key to reading the work. I tell them my version only when I am asked explicitly.

The failure

 The failure, 2012

What was your biggest artistic challenge?

There’s a moment in each project or situation that becomes the biggest challenge. I am now tempted to say it is hard to escape the comfort zone and assume that risk is a double-edged weapon.

Simulation

 Simulation, 2007

What techniques are most dear to you? 

I always adapt technique depending on the work. But I enjoy drawing. I find it to be the most honest and free form of expressions. And I like marker pens a lot.

44 783

 44 783, 2013

What new theme/ concept/ technique would you like to explore in the future? 

Except for Drawings of Joy, I am working on several projects. One of them questions the way women curators relate to their own image – as I was saying that the Woman theme doesn’t appear much in my works!

Untitled

All images © Irina Broboană

Visit Irina’s website.

[Originally posted on September 9, 2013 on The re:art Facebook page; Revised for the current version].