Astrid Mussi finds inspiration for her work from everywhere, especially the nature in Southern California. She now works with paper and thread to create her unique pieces of art. Along with working in her Headdress series, she explores the Wild Woman in her work.
How did you find yourself on an artist’s path? Always there? Lightbulb moment? Dragged kicking and screaming? Evolving?
As long as I can remember, I had an interest in photography. However, I became really hooked when I started working with very long exposures, as part of my Master’s in Photography. I took pictures that captured 30 minutes of time. It was exciting, fascinating! I continued that work for many years.
During that time I developed a growing desire to create with my hands, with physical materials. I decided to study Comic Strips and Illustration in Brussels, Belgium, where I was living at the time. Drawing, sketching and working with paper was a way to approach that goal.
When I became a mother, my photography exploration came to a halt. I felt lost in my creative journey. My creative self was on hold. In 2011 I moved to San Diego with my husband and my two children. Quickly I felt an urge to create, and started working with paper and paper cuts. All the characters I imagined in the past came alive in this new space. I started to incorporate fabric. Thread became the way to connect all the elements of my images. I felt that something magical was happening with the threads under my fingers, and I naturally picked up embroidery. Embroidery on paper, what a joy!
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What inspires you to create?
I find inspiration in other artists’ work but it really comes from everywhere, a sentence heard or read, a picture seen, textures, colors, a certain movement, a dream, and of course nature! Especially the nature I discovered in Southern California.
What different creative media do you use in your work?
My main medium is embroidery on paper. I love the paper for its simplicity but also for its feel. The embroidery is delicate and fragile. I find they complement each other very well. I also like to paint my paper to obtain different textures or colors, or to incorporate fabric or other materials.
Do you plan your work out ahead of time, or do you just dive in with your materials and start playing?
I do a couple of rough sketches, and then I choose the colors of the different papers and threads. Then I dive in. I pick the different styles of stitches while working on the piece.
How do you manage your creative time? Do you schedule start and stop times? Or work only when inspired?
I wish I could be in the studio all day long! When I am in the preparation mode – like cutting and embroidering all the elements, I try to work a couple of hours a day. When it’s time to assemble it all, then I try to isolate myself from the world as much as I can. It’s always a delicate exercise to put everything together, and I try to do it in one single session.
Every piece takes a lot of time. But it’s a joyful time! I’m in another state of mind when I’m embroidering, or working with paper. I feel calm, strong and connected with myself.
Describe your creative space.
In 2019 I transformed the guest room of our house into my studio. How wonderful it is to have a private space, away from all the household noises and distractions! A space where I can create and spread out, and free my creativity.
When Covid started, my husband had to work from home and he also needed a dedicated space to work. I shared my space with him. Over the years it became our studio/office combo. It is small but it works out well. My desk is overlooking the yard and I feel so lucky to have a view of plants, birds and other little wildlife coming by. It’s my little refuge from the world.
Working across many different media, how do you organize all of your creative supplies?
I have a dedicated piece of furniture for my different papers and it’s also the place where I store my work. My desk has many drawers and each has its own purpose: floss, scissors, pieces of fabric, pencils and markers, small inspirational objects.
I keep my kids’ old clothes and interesting fabrics in boxes and it’s sort of organized by color or pattern. It might seem like they are all over the place, but I know what is where, and that’s the only thing that matters.
Do you use a sketchbook or journal? How does that help your work develop?
I have notebooks, in which I write, draw, and sketch, but it’s usually very rough. It’s probably because I can’t wait to start the real project. I use my notebooks to draw my different designs of plants and flowers, to find the right ones. When I’m away from home, or on vacation I can spend a lot of time on a single design though. My phone also helps me to collect pictures, or anything I encounter and find inspirational.
How often do you start a new project? Do you work actively on more than one project at a time?
I usually have more than one project in my mind, but in practice I work on only one at a time. As soon as I finish a project, I try to start a new one though.
How do you know when a piece or project is finished and needs no additional work?
I can’t explain it, but it’s always the same, suddenly I know it’s done! It’s then and only then, when it’s absolutely clear, that I sign and date the back.
Is there an overarching theme that connects all of your work?
I would say nature and threads are the connection between all my work.
Do you work in series?
The Headdresses collection is a series. I use the same format for all of the pieces and picture them as a whole. In each of my headdresses, the character is expressing an idea, a feeling, a story.
Also, in many pieces, I explore the character of The Wild Woman, an archetype of woman in a natural state, a pure connection, a medium between the natural and the human world. I often represent her with very long arms symbolizing her carrying the world, its joy and suffering. The Wild Woman has no face, no expression, as she carries them all. It’s a common theme in my work, although those pieces don’t necessarily form a series.
How has your creativity evolved over the years? What triggered the evolution to new media/kinds of work/ways of working?
Over the years, I improved my technique a lot. I learned from my mistakes and now I can say that I have a good sense of what works and how. I have to say that showing my work helps me to gain confidence.
Do you enter juried shows? Do you approach your work differently for these venues?
I have entered juried shows a few times and I keep looking for calls for entry. I participate in Arts and Crafts markets, where I mostly present my work on plants and nature. I’m always looking for a space where I can show my work, especially my Headdresses series.
Do you keep track of your work? Shows that you’ve entered? Tell us what works for you.
I update my resume and keep track of the shows I participate in. It helps me stay on track.
I’m so much happier creating in the studio than working on the presentation or the sale of my work.
What do you do to keep yourself motivated and interested in your work?
I don’t need motivation! It’s always there!
Where can people see your work?
My website on my photographic work: astridmussi.com
I have a page on Fine Art America: https://fineartamerica.com/profiles/astrid-mussi
Some of my work is at the store of the Visions Museum of Textile Art of San Diego: https://vmota.org
I’m on Instagram: @astridmussi – I update my Instagram with new work and any time I participate in an event.
Interview posted August 2024
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