To begin, tell us a bit about yourself: how did you get involved with art, and what influenced you to follow this path?

My name is Ariana, and I am from Buenos Aires, Argentina. I work as a visual artist under the alias Mistrophia, and my art education is primarily self-taught. I encountered creativity at a very young age, influenced by my mother and grandmothers, who were passionate about art and painting. Much of my childhood playtime involved drawing alongside them. In primary school, I was first introduced to watercolor painting and clay. As I grew older, I realized that art was where I felt most comfortable. For me, creating was a form of writing—a space for expressing my sensations and emotions.

In college, I decided to pursue training as a social psychologist during the COVID-19 pandemic, which included a year-long artistic block. During that time, I often questioned my painting style and felt demotivated for not meeting my own expectations. I believed that realism was the key to being recognized as an “artist.” However, studying social psychology and learning about group dynamics, sociology, and human behavior in society opened my eyes to these self-imposed limitations. It led me to return to my practice with a deeper understanding of our context, focusing on process, research, experimentation, and letting go of the notion of what the artwork “should be.” This approach continues to inspire me today and shapes my artistic development.

In your artist statement, you mention creating works that invite and awaken the viewer's curiosity about their relationship with nature while immersing them in a new world of textures. Can you expand on this line of thought?

Yes! When I talk about "awakening the viewer's curiosity," I do so because I believe that most people are caught in a cycle of screen overstimulation and constant distractions. This automatic state prevents us from truly observing our surroundings and disconnects us from our environment.

I remember taking my 7-year-old brother to a nature reserve, where I noticed he was fully immersed and present. He asked many questions about the plants and animals, and a newfound curiosity emerged in him about everything we observed.

I believe we should more often embody the perspective of children—stepping out of our comfort zones to explore and enjoy those moments when curiosity and contemplation arise. My work serves as a tool to reconnect with that sense of wonder about our surroundings, which I aim to share with the viewer. I hope to ignite a spark of curiosity that encourages them to reflect on the land and nature around us.

I invite them to enter a trance focused on their relationship with the world and the people around them, even if just for a moment, stepping away from this state of digital "hyperconnection." By incorporating aspects and textures found in nature, I aim to fill the canvas with elements that awaken a sense of curiosity—a recognition that they are seeing something familiar, yet presented through a different lens.

The pandemic led to the creation of your series "Psicodelia Natural”  which was driven by a desire to re-establish a connection with nature. What can you tell us about the visual and conceptual aspects of this series?

My inspiration for this series comes primarily from the natural world. I’m captivated by organic visuals and fluid movements, which stem from my observations of tree patterns. By incorporating materials directly sourced from the earth, I create pieces that reflect a collaboration with nature.

The visual style of my work leans toward the psychedelic, filled with vibrant colors and repetitive patterns that draw in the viewer.

With "Psicodelia Natural," I aim to create a refuge for reflection on our surroundings through play and exploration. The series features prints of leaves and tree bark, encouraging a redefinition of objects while fostering awareness of the environment. Each leaf and trunk I use leaves a distinct imprint, ensuring that no two works are alike. Just like each person and aspect of nature is unique, every piece carries its own special characteristics.

Your work is characterized by vibrant colors and unique textures. Can you describe your creative process when it comes to selecting colors and materials for your pieces?

The process of creation begins when I collect materials for printing. I search for leaves on my walks—those that are yellow or fallen, and even some that are a bit battered from the grocery store, such as spinach, basil or lettuce. These are the leaves I typically use. The same goes for tree trunks, which often come from friends who have recently cut down a tree in their yard.

When selecting a support to paint on, I apply the same principle, which is why many of my works are made on recycled materials, such as canvases, used paper, or scratched vinyl. Everything can be transformed and recycled.

In terms of color, my goal is to capture the viewer's attention and invite exploration of the piece. I often choose complementary colors, favoring vibrant reds reminiscent of birds like the red-crested cardinal to create that characteristic vibrational effect of psychedelic movement.

As I work and envision the textures for a piece, I enter a reflective state, observing the prints left by the materials. By analyzing their shapes and movements, I start digitally sketching variations. This approach allows me to experiment freely without damaging my working surface. Once I determine the direction of the lines, I can paint confidently, guided by the envisioned movement. This part of the process demands my full presence, as my paper lacks guiding lines, and I work slowly to align my artwork with the sketch.

You integrate natural elements like leaves and tree bark into your artwork. What inspired this decision, and how do you think it enhances the viewer's experience?

After the quarantine ended, I felt compelled to spend considerable time in a nature reserve near my home. I immersed myself in observing, meditating, and photographing the environment. Being there, I sensed a vibrant energy that helped me release my daily worries. I realized that nature is a great caretaker of the human psyche, and I wanted to give back my care and appreciation for it.

After five months of studying and observing the area, I began reviewing my photographs in search of inspiration. I noticed that many of my photos focused on tree bark. This led me to wonder how I could translate the movement and vibration I felt from the trees into my artistic practice. The bark and its movement captivated me, prompting me to experiment with line.

As I grew more comfortable with these movements, I naturally began to paint and incorporate natural leaves I found on my walks. Including impressions of these leaves means that much of my work relies on the imprints they leave on the canvas. It becomes a collaboration—a dialogue between materials.

This approach frees me from being tied to a specific outcome before I begin, allowing for an element of chance in the process. My task is to create with whatever emerges. The organic shapes and imprints from leaves and natural materials deeply enrich the visual aspect of my work, creating a bridge between art and the natural environment that inspires me.

Part of my work taps into the collective memory of the natural world. We all have an inherent understanding of what a flower petal or a leaf looks like in autumn. While we may not consciously think about it, these images are stored in our memory. With "Psicodelia Natural," my goal is to reinterpret these natural elements and trust the viewer’s memory to recognize them. Even if they struggle to articulate what they see, it resonates with something familiar and known.

As a young artist in Buenos Aires, what do you see as the role of the local art scene in supporting emerging artists like yourself?

Buenos Aires has a vibrant artistic community, filled with cultural centers that serve as meeting points where various artistic expressions converge in a single space. There are nights dedicated to photography exhibitions, poetry, and live painting, allowing each individual to express themselves freely. Moving to the city enabled me to find places and build connections to showcase my work.

In the underground scene, where I began to exhibit my pieces, I discovered a space to be authentic and present my art, which I see as an extension of myself, my interests, and my way of existing. The initial encounter with people who expressed enthusiasm for my artistic vision inspired me to continue creating and developing my art.

However, it's disheartening to witness the significant decline in cultural funding in Argentina due to the political climate over the past year. Despite this, art remains a driving force for us, and there are always places within the artistic community to turn to for support.

Argentina is home to many talented individuals who create from their passions, each offering unique artistic expressions. The support for cultural spaces is robust, fostering a sense of solidarity among artists.

You’ve participated in over 20 exhibitions in a relatively short span. What have been some of your most memorable experiences or challenges in showcasing your work?

Definitely, my earliest exhibitions are the ones I remember the most, feeling the fear of exposing something so intimate to the public.

I have a painting called “Rorschach” that sparks many conversations when I display it. Some people think the stains resemble brain scans, others see walnuts... Intrigued by the shapes they see, some approach to observe more closely, and a few even ask questions. When they do, the conversations tend to be very interesting. 

I enjoy sharing my creative process, and I also love when someone tells me what they see and the chance to talk about the environment that inspires the art. Every conversation, whether with viewers or colleagues, always opens my eyes to a new aspect of creation.

This year, I participated in Bada Argentina, one of the largest art fairs in Argentina, which was a unique and incredible experience. I had the opportunity to discuss and present “Psicodelia Natural” to a large audience, and I left feeling incredibly happy about the feedback I received.

For me, taking that first step to talk to people about my work was very intimidating, but taking that risk is worth it. I believe the biggest challenge is stepping out of your comfort zone, bringing your work out of the studio, and daring to present yourself to others in the scene.

In your opinion, what is the role of art and imagination, in the creation of new networks of understanding and awareness regarding ecological issues?

I believe that as artists, creators, and individuals engaged with the natural world, it’s crucial to use our creative mediums to inspire conversation and redirect our focus toward nature. We must recognize that globally, we are facing significant challenges such as climate change and threats to our ecosystems—whether through land exploitation, wildfires, or the need to protect and maintain green spaces. In our modern, hyperconnected lives, we often overlook the vital role the natural world plays in our physical and mental well-being.

Art has always addressed urgent themes, raised social questions, offered observations, and critiqued norms, while also highlighting crises like climate change and the dangers it poses to our planet. Any initiative that shifts people's attention to ecological and environmental issues deserves our support.

Do you have any upcoming projects or exhibitions that you’re particularly excited about? What should we expect from you next?

I’m excited to explore new mediums and sizes for my art. I’m looking to work with materials like metal and silicone to bring textures off the paper, and I’m also interested in cyanotype techniques. Material exploration has always been a key aspect of my work, and in 2025, I hope to present pieces that challenge me to step outside my comfort zone. This next phase will focus on colors that resonate more with the natural world and finding moments of pause.

I’m eager to co-create with other artists and develop new mixed-media projects. Right now, my focus is on creating and building new connections; I may not be as focused on exhibitions in the coming months, but rather on introspection and research.

Lastly, what message would you like to leave our readers?

If I had to offer advice, it would be this: don’t be afraid to explore and find playfulness in the creative process. What we often label as a "mistake" can actually be the first step toward discovering something unique. Creative practice thrives on moments of disconnection and fun. Inspiration can emerge from anywhere and is not confined to the studio.

In my opinion, the key lies in recognizing moments or activities that spark inspiration and allowing yourself to follow that initial impulse to create without overthinking. I would also encourage readers to take a look at the materials around them—those forgotten items lying around the house—and to imagine the new possibilities for those materials. Each of us has the power to help maintain balance and reduce waste that ultimately ends up in our environment.

Find more about the artist here.

Cover image:

Psicodelia Natural by Mistrophia. Image courtesy of Mistrophia.