BETWEEN THE GENUINE AND THE STAGED: A CONVERSATION WITH EMMA STÅHL

Emma Ståhl, a visual artist based in Gothenburg, invites us into her world of intimate moments and raw, honest depictions of everyday life. From capturing fleeting interactions to creating a “twisted sense of everyday life” in her paintings, Emma’s work invites viewers to look closely, connect, and consider their own experiences. In this conversation, Emma reflects on her creative journey, her fast-paced approach to painting, and the influence of her personal relationships on her artistic choices. Join us as we delve into Emma’s process, her influences, and the unique themes she brings to life on canvas.

The following interview has been edited and condensed for clarity.

COMA: Thank you again for your time, Emma. To start, could you tell us about your background and what led you to pursue a career in art?

Emma: Sure. Actually, in kindergarten, they asked what we wanted to be when we grew up, and I said I wanted to be a painter. But as I grew up, I thought it was impossible to pursue. Then, when I went to a preparatory art school, they really encouraged us to apply to art schools. I did, and I got in. I knew it was tough to get accepted, so I thought, “Why not just give it a try?” It wasn’t until maybe my second year at Valand that I realized this was really what I wanted to do.

COMA: So, in a way, you were testing yourself against your own childhood dream. That’s quite inspiring! You mentioned your experience at HDK-Valand. How did that shape your artistic process or approach to painting?

Emma: Honestly, Valand was challenging because they didn’t really know how to discuss painting—they don’t have any painting teachers, and the program is very conceptual. Painting isn’t always purely conceptual; it often involves a lot of materiality and craft. I struggled to get meaningful conversations with my teachers about painting. In fact, I had a few examinations where they’d ask, “Why are you painting?” and it felt like they were questioning my choice in a way they didn’t do with other practices.

By my third year, though, I’d become confident. The need to defend my right to paint actually strengthened my conviction. Now, I feel that having to argue for it made me more sure of my work, and I feel better prepared for life outside of art school.

COMA: So maybe their questions indirectly helped you prepare for the art world?

Emma: Yeah, I guess. Looking back, I’m not angry at any teachers now. Since painting is such an old practice, every new painting can feel like it’s being compared to the old masters, so maybe that’s why they pushed so hard. But I’ve heard from younger students that the program is improving and that teachers are making an effort to understand painting. We must’ve stirred things up a bit, which is good!

COMA: That sounds like it was formative! Let’s talk about your creative process. You’ve mentioned your work is driven by a certain impatience, and I’d love to hear more about that urgency and how it influences your process.

Emma: I think I’m always just wanting to get to the actual painting part—to mixing colors and covering large areas with paint. So, I often rush through the other steps just to get there. Sometimes, I won’t even have finished the sketch before I start painting. I even end up sketching over the paint.

Also, in preparatory school, a teacher once told me, “You talk about your work being honest, but then you paint in tiny, careful details.” That hit me—I realized maybe the honesty comes through in those big, bold brushstrokes. It’s about capturing a moment without overthinking it.

COMA: That’s fascinating. Your paintings are said to capture a “twisted sense of everyday life.” What aspects of everyday life do you find most compelling to portray?

Emma: I’m really interested in relationships between people and how we connect with each other. It’s the small, intimate moments that matter—like a simple conversation at the dinner table with a friend. Those moments might seem insignificant in the grand scheme but can mean so much to the people involved. I like portraying these moments where viewers might see themselves or feel like they’re intruding on something private, like walking into a room at a party where everyone suddenly stops talking.

COMA: How do you balance that desire to capture authenticity with the fact that, as an artist, there’s always a bit of calculation involved?

Emma: It’s definitely tricky because you’re always going to be a bit of an outsider, even if you’re trying to capture something genuine. I take lots of photos quickly without asking people to pose, hoping they won’t think about the camera. We’re all so used to people snapping photos on their phones that I hope that it allows for more natural moments. But yeah, it’s hard to make something truly “genuine” when you’re there with a camera.

COMA: Do you ever worry that viewers might see your work as too personal or mundane since it’s based on these kinds of everyday moments?

Emma: I think I’m okay with that. I actually really like art that feels personal—that’s what I’m drawn to. One of my favorite artists is Nan Goldin. Her work captures these very intimate, candid scenes, and I remember seeing her show at Moderna Museet. It was the strongest art experience I’d ever had. Her photos didn’t necessarily apply to my life, but they felt so honest that I connected with them anyway. That’s what I hope to achieve.

COMA: That honesty and immediacy are definitely apparent in your work. Let’s talk about how you decide on the colors and techniques for each painting. How do you approach that part of the process?

Emma: For me, it’s very intuitive. I might pick a reference photo, but I like to try something new with each painting, whether it’s a color choice or a technique. I’ve also been experimenting with dry pastels, layering them over the paint to create different textures. I want every part of the painting to be interesting, not just the figurative elements. And if I painted it exactly as the photo looked, I feel like viewers wouldn’t linger on it. I want to give them a reason to look longer.

COMA: That’s a powerful approach. Speaking of techniques, I know you like to work quickly, completing each piece within a week. How does this pace influence the final outcome?

Emma: I think it forces me to stay focused on the whole painting instead of obsessing over small details. I love seeing the movement in the brushstrokes and how that translates into something bold and immediate. Working quickly keeps it fresh and, I hope, honest.

COMA: That’s clear. How do you know when a painting is finished?

Emma: That’s always a struggle, but I think it comes down to intuition. When I was in art school, friends would sometimes step in and take a painting away, saying, “It’s done. Stop working on it.” Now, I set deadlines for myself. If I’m unsure, I’ll put it away and tell myself I can come back to it, but I almost never do. I always end up moving forward.

COMA: That’s interesting! Let’s talk about the pieces you’re presenting with COMA. Could you tell us more about them?

Emma: Sure! The works at COMA are all part of my bachelor show. They’re based on an archive of old party images. I think everyone’s phone creates these photo albums now, grouping images by themes. I went through one of those albums and found photos I’d taken years ago. I wanted to capture a certain late-night, after-party atmosphere, with a sense of intimacy and rawness. All the people in these paintings are friends, so knowing them influences how I paint them.

For instance, one of the works shows my friends posing with a walker they found on the street. They took the photo quickly with flash, just in that funny, spontaneous moment. I think that’s the essence of what I’m after—that kind of “in-between” moment where something interesting happens, and you’re left wondering what the story is.

COMA: It’s fascinating to hear about your approach to capturing those moments. What’s coming up next for you?

Emma: I have a show wrapping up in Malmö this weekend, and I’m also working on a project with my partner for next year. Plus, I want to finish the series of party images, make it feel complete. I’ve also started on a project with dual images in one frame, exploring the interaction between two scenes.

COMA: That’s exciting! Thank you for sharing so much about your process and upcoming work. It’s been great talking with you.

Emma: Thank you! This was really nice.

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 Emma Ståhl.

November, 2024 - COMA Editorial team