Lea Rasovszky | Interview

We met Lea Rasovszky in the summer of 2013 and have been in love with her artistic activity ever since. Find out more in our exclusive interview with Lea.

You’ve been active lately, with several exhibitions such as Dark Matters @ Calup or RABBITS @ NAG. What was the most important art related moment of the year for you?

My natural rhythm is more active than that. This year was a little slow for my taste. A number of projects with great potential have been left aside or have been delayed because of endless logistic problems and production budget. However, I’m happy that those you mentioned were still possible, they meant a lot to me and were very interesting collaborations with great people!

Taken one by one, Dark Matters was an unexpected initiative, I was invited to do a site specific project in a very interesting location where I could test freely and relaxed an old thought that concerned me (Primary Nation), and came out as a kick ass result that I enjoyed  + a very cool collaboration with the wonderful people of Calup!

Primary Nation 2

Primary Nation 2

Primary Nation, 2013 |  © Lea Rasovszky

Then, Rabbits was a strange and beautiful project, involving many young, different and “trendy” artists, in an also very interesting location – the studio room of Ţăndărică theater. That was a test for me, as I learned many things about team work and involvement.


Rabbits Exhibition |  © The re:art

Although all were important in their own way, usually, any future project is the “most important”.

What are your artistic obsessions  – themes, motifs, colors and shapes constantly returning during the creative process? And why these recurrences?

There are several stable points that I return to constantly. There are situations or contexts that fascinate me and don’t bore me. In a random order, but having the same degree of importance: the romantic relationship, without an end or solution, with the idea of religion/ Savior, the current Pop underculture, specific to where I find myself, here or there, the man of periphery  – always fascinating and intense through its effortless authenticity, the black humor as a form of purification and, of course, empathy as rule!


Mentors, 2012 |  © Lea Rasovszky


The Savages, 2012 |  © Lea Rasovszky

I do not know why these things attract me, I just resonate with them intensely and feel – almost like a visceral sensation – that I need to have a deeper understanding of them so that I grow both as an individual and an artist.

They all come out of an intense yet shy love, which I try to fix step by step, with each project.

In your works, text often combines with drawing and your installations amplify their sense through words. How does the visual interact with text in your art?

Right now I feel the need of word or text, so I confidently choose to go in this direction. It’s an imperative addition, this direction of giving or changing the sense of things through words amuses me. In general, before becoming visual, my projects start with words (fragments that would be non-sense if they were read by someone else, but these help me establish some coordinates). In the end, all naturally comes down to one or two words or a phrase.

There’s a lot of power there.

Melancholia of GLORY, 2012

Melancholia of Glory, 2012 |  © Lea Rasovszky

What message do you want to convey through your art and when did you feel that this message was emerging in your works?

The message depends on who is willing to receive it. “The other”, the one who is not me, is a fundamental part of everything I do, so I like to leave my works to open interpretation and not offer too many explanations. I rely on the openness and relaxation of those who come to see what I do, and a little enthusiasm never hurts.


Men, 2011 |  © Lea Rasovszky

The message is a beautiful one, not very simple and not very light, but if combined with amusement, becomes interest and ends with a thought that remains, I consider myself happy.

What would you never accept as an artist?

To put myself in the service of a political party or to associate with any political issue. Anti politics anytime, but pro, never. An operating system should not be worshiped, as it should be a normal state, and the development of the cultural scene and its visibility should be a sign of gratitude.

Also, another thing that I could never accept is associating my name with anything related to discrimination or hate speech.

Emahut @ ICR Tel Aviv

Emahut @ ICR Tel Aviv  |  © Lea Rasovszky

You’ve often talked about Romania’s artistic stagnation and differences in relation to other countries. How does artistic Romania look in your wildest dreams?

I am very unhappy with what’s going on here and I target my forces towards change. My dreams about how the Romanian art scene should look are quite pragmatic and simple. I wish for a functional  community-oriented system, with a natural development, where people understand why it’s necessary for art to be helped through spaces, funds and interest.

Simple, yet oh so difficult.

I Cry - Her, 2010

I cry – Her, 2010 |  © Lea Rasovszky

What projects do you plan for this year?

There are two or three quite important projects that excite me greatly. I’m waiting to overcome administrative obstacles and then I’ll announce them.

One is with überSelf, stainless steel and mirrors, and the other is related to travel, balance and Value.

Emcee Guts, Selfportraits, 2007

Emcee Guts, Selfportraits, 2007  |  © Lea Rasovszky

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Follow Lea Rasovszky on her website, on Facebook and Instagram.

[Interview originally posted on July 4, 2013 on The re:art Facebook page; Revised for the current version]