MONSTERS, MINIMALISM, AND ARCHITECTURE WITH NASTJA DOLINŠEK UTROŠA

Nastja Dolinšek Utroša is a Slovenian artist and PhD researcher based in Gothenburg, Sweden, who brings together her passion for architecture and visual art in fascinating ways. With a background in urban planning and a love for painting, she weaves themes of spatial orientation, wayfinding, and human connection into her work. Her pieces combine vivid imagination, anthropomorphic figures, and minimalist aesthetics, creating a unique and striking style. In this conversation, Nastja shares how her dual pursuits shape her creative process and why her art is a space where intuition takes over from analysis.

The following interview has been edited and condensed for clarity

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COMA: Let’s start with your background. Could you tell us a bit about your journey and what led you to pursue both architecture and visual arts?

Nastja: My journey started when I began studying architecture. One of the subjects we had was drawing, where I started sketching spatial elements like chairs, lamps—anything connected to architecture. That’s where I found my joy and meaning. But it was surprising for me because, before that, I was a musician. I played piano and cello, and before high school, I was certain I’d study music.

It’s strange to think about now, but I remember being invited to an exhibition when I was six years old by a relative who was a painter. I drew a church and a bird for that exhibition. It was a small city, but the gallery was a significant space, and it left an impression on me.

COMA: Do you remember much about that exhibition?

Nastja: Not much—just some pictures of it. I still remember the drawing I did, though. It was made with crayons, and it’s still hanging on the wall at my parents’ house.

COMA: What feelings or thoughts came to you when you drew the church and the bird?

Nastja: Looking back, I think it sparked my love for architecture because the church is such an architectural structure. That might have been where my fascination with space and buildings began.

COMA: At some point, you decided to pursue both architecture and art. Were they always parallel, or did one dominate over the other?

Nastja: Architecture has always been very important to me. Even as a child, I was constantly rearranging rooms in our house. I couldn’t stand symmetrical layouts and would change them all the time—it became almost ridiculous how important it was to me.

I chose architecture and urban planning as my primary focus, with art as a secondary interest. But after graduation, when I started my master’s studies, art became more significant. I even considered doing a master’s in painting or illustration but decided on urban planning because that field also fascinated me. However, I still think about pursuing visual art or illustration here in Sweden after I finish my PhD.

COMA: That would be a great way to bring everything full circle. Let’s discuss how your architectural research and art intersect. Your PhD focuses on spatial orientation in complex healthcare environments. How does this research influence your art, if at all?

Nastja: The approach is similar. When I start an artwork, I first choose a topic, read about it, and decide on a method or technique. This is very connected to the methodology I use in my PhD studies. For me, the background and research behind a piece of art are just as important as the process itself.

COMA: Within your research on wayfinding, are there specific elements—like structure, geometry, or minimalism—that appear in your visual work?

Nastja: Yes, definitely. In one of my exhibitions, called Net, I drew fish as part of my exploration of how animals navigate in groups. Fish find food, mates, and safety in groups. They swim side-by-side at a precise distance, moving in sync as one fish's direction changes which relates to wayfinding. Now, these elements might not always be as explicit in my work, but they’re still present in subtler ways.

COMA: Does your artistic practice influence your architectural research or professional work in any way?

Nastja: Not really. My art stands on its own and isn’t influenced by my research. I actually see art as my safe space, where I can escape the pressures of my PhD. It’s important for me to keep it separate from my professional work.

COMA: That’s understandable—a way to maintain balance. In your artistic practice, you explore themes of individuality and society through anthropomorphic figures and grotesque imagery. What inspires these themes?

Nastja: I’ve always had a vivid imagination. As a child, I listened to fairy tales on cassette tapes without illustrations, and these stories came alive in my dreams. Sometimes, they were quite scary. These dreams still haunt me and inspire the grotesque figurines in my work.

I also address themes like climate change, consumerism, and sexuality. By confronting these issues through my art, I hope to inspire positive change.

COMA: Your work often incorporates geometric forms and minimalist aesthetics. Is this a deliberate connection to architecture or the Surrealist movement?

Nastja: It’s both. My architectural education has given me a certain aesthetic sensibility, but I also draw inspiration from movements like Surrealism. The combination of these influences shapes my artistic language.

COMA: How do you balance the analytical mindset required in architectural research with the expressive nature of art?

Nastja: The analytical part is very present during the preparation phase—choosing a topic, researching it, and deciding on a technique. But once I start creating, I lose myself in the process, and it becomes more intuitive.

COMA: Let’s talk about the pieces you’re exhibiting with COMA. What do they mean to you, and how were they conceived?

Nastja: These works come from different periods in my life. Net was one of the first pieces where I explored the grattage technique, and it became part of a larger series. The Watcher is another piece I’m deeply connected to—it’s one of the main figures in my work, almost like a guardian. The last piece is more recent and deeply expressive, reflecting a lot of research and personal exploration. Together, these works represent different facets of my artistic journey.

COMA: They sound like a perfect representation of your practice. What are your future plans?

Nastja: Right now, I’m focused on finishing my PhD, but after that, I’d like to pursue studies in art or dedicate myself fully to my artistic practice. I’m particularly interested in spatial interventions and creating large-scale installations that interact with viewers and their environment.

COMA: That sounds exciting! Thank you so much for your time, Nastja.

Nastja: Thank you!

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Stay tuned for more artist interviews and insights into our ongoing exhibition (Season 2). Visit our website and Instagram for the latest updates and to explore the incredible work of emerging artists like Nastja Dolinšek Utroša.

December, 2024 - COMA Editorial team