I had the pleasure of being able to send the incredible illustrator Daniella Batsheva some questions about her work!
Check out the interview below!
1. Tell us a bit about yourself and how you became an artist?
Of all the questions, this might be the most difficult, actually! I’ve always been bad at talking about myself. Would you believe that sometimes I have to look back at my resume because I can’t remember what it is that I’ve even done? That’s one thing about me, definitely scatterbrained!My name is Dani and I draw a lot. Sometimes I talk to cats. Actually, I mostly talk to cats.
I never knew a time when I wasn’t obsessively drawing. My earliest memory related to drawing is watching “Tales from the Crypt” with my mother and drawing a princess while the Crypt Keeper cackled in the background. Drawing has always been my method of communication, so I chose to seriously dedicate myself to that craft.
2. What does being an artist mean to you and at what point did you know you wanted to pursue a creative career?
acacacI don’t think there was ever a point where I thought I wouldn’t pursue a creative career! It was set in stone. I can’t remember a time when I wasn’t creating. I always knew that, wherever I ended up, I’d sure as hell be drawing.
3. What is the biggest challenge of being an artist?
Oh boy. All of it. First off, expect people to think that you’re completely nuts for pursuing this as a career. Expect that even your closest friends and family will question your sanity. Expect that it will likely be a decade of brutal work schedules and sacrifices before you even get to be good enough to start working in the arts consistently. Expect that you won’t sleep normally ever again.
I’ve had to be, not only my own biggest supporter, but I’ve had to be bold enough to claim a space to showcase my work.
You learn early on, no one is going to fight for you, no one is going to do you a favor, no one is going to give you a shot. Even if you make gorgeous pieces for a client, don’t expect they’ll even give you credit because, unless it’s in your contract, they won’t. You need to be loud and social, despite the fact that your anxious mind might be screaming for a merciful hole to hide in. You’re going to have to face so many fears. But, if you love art more than you’re afraid of everything I listed, you’ll do it.
Once you’ve become established as a professional, expect every person who talked you down to creep back out and claim they always supported you.
If you have a wealthy patron or family member willing to hand you a high-status gig, ignore everything I said. You’re a lucky one! Ride it to the top!
4. Does being an artist give you a different perspective of the world?
Absolutely. I think that creatives feel much more deeply, whether we tackle social and political topics or not. Thinking and feeling comes with the territory of creating, so we’re constantly analysing our surroundings. Personally, I pull a lot of my subject matter from interactions with people and the environment I’m in. I see a broader picture and make lots of connections between topics, which can turn into an exhausting avalanche of thoughts, so I make a point to turn my brain off daily before it gets to bleak.
5. Your work is really fascinating and it covers a lot of different concepts but are there any central themes you like to explore in your work, and if so, why is art the right medium to express them?
Also, are there any themes that art can’t explore?
I’ve always been drawn to feminine themes and strong women. Growing up, I’ve mostly seen women that really took charge. I once felt the need to justify how feminine my work is because the default was more masculine leaning for so long, but I’ve moved past caring. Conceptually, I don’t have a favorite, mostly because I draw what my clients request so I have to be comfortable with everything. As far as visuals go, I love snaking vines and sharp, clean lines.
I do plan to illustrate a lot more imagery inspired by Middle Eastern culture, so that’s a topic I’m very excited to delve into. There are ways to express my favorite imagery through music and performance, I’m sure, but drawing is my prefered medium because it’s how I communicate.
I think we’re at a point where if you have a concept that’s well thought out enough, anything can become art. It’s really up to the artist and what they choose to represent their ideas. About 12 years ago when I was still in university, someone in the Fine Arts Department nailed a piece of broccoli to the wall as their senior thesis. I didn’t personally get it, but I’m probably not the person they were speaking to with their work. I don’t think there’s a theme that visual arts can’t touch.
6. Your work ranges a spectrum of personal and commercial work. What do you look for in a client and what are the benefits of creating both personal and commercial work?
What has been your favourite project you’ve created so far?
The best clients are the ones that give me a clear idea of what they’re looking for, with reference photos. They also need to have a certain level of trust where, if I make a suggestion, it’s because I’m considering contrast, color balance, composition, and space for typography. Knowing the image you want is great, but there are a lot of factors to consider and an unwillingness to budge on certain elements can cause problems. Openness, understanding, and patience is key!
For my personal work, what’s great is that I sometimes sell the usage rights to people if they need a quick poster or something else. I like having some personal work thrown in because I can’t always rely on a client to pick a topic that will touch on a subject I’m fascinated with. Sometimes there are images and ideas that pop into my head that I really have to get out. I’m also able to take the most risks in my personal work because I’m able to fail without consequences. It’s where the most growth happens for me.
I can’t say for sure what my favorite is at the moment, since I start getting sick of everything a month or two later. At the moment, I am still hooked on my surgical Pierrettes, so there will be a few more of those before I set her aside to rest a bit.
7. One of the most impressive highlights of your career so far is that you were the first ever female lead illustrator for alternative culture brand Kerrang!. How did this opportunity come about and what were your ideas and thoughts for the design you created?
Additionally, how do you think that the art industry treats female illustrators vs male illustrators? Is there a difference in the types of projects you’re likely to be offered and do you feel that there needs to be more opportunities for female artists?
Kerrang! came about organically. The brand manager, Esme Surfleet, had an article on the Top 50 Albums of 2021 and wanted to do something different for the header image. She trusted that I could come up with something interesting, so I illustrated a small tapestry that summed up the chosen artists for the year. From there, I started doing illustrations for articles on culture and mental health. It’s been a great journey so far and I’ve learned a lot. It’s opened me up to working with topics that are based in real life and allowed me to represent a more diverse group of people as a part of the alternative. It’s been a joy to be able to contribute to such a solid brand and I’m excited to see what the future holds for Kerrang!.
These days, I actually see just as many female illustrators as I do male illustrators. The difference I’ve found is that women still have to work harder to be taken seriously, especially if their work skews feminine in presentation, but take that with a grain of salt. This is my personal experience and it may be different for other women. Though, I will say, women do still have to deal with some “clients” that are actually looking for a date and that’s incredibly frustrating when you’re just trying to pay your bills.
8. An interesting connection I’ve found whilst running The Flying Fruit Bowl is how many artists are also musicians, or have dabbled in music in some way.
Do you think that there is a strong correlation between art and music? What ties the two genres together and how does your own musical tastes impact your work?
That’s a hard yes. I know a ton of artists that are lowkey super talented musicians. I’m completely ignorant of the science behind it, but my best guess is that the areas of our brain that relate to music and visual arts aren’t too far off, since it all falls under the umbrella of “creative.”
Music has a way of lighting up the area in my mind that compels me to draw and I imagine isn’t too different from when a musician is inspired by a painting. I’m always listening to music while I work, but mostly in a meditative way that helps me stay in the right mindset to pinpoint exactly what I want to communicate, down to the colour palette. It’s hard to put into words, but the imagery kind of bubbles up and spills out into an illustration. If you know, you know. I don’t think I have the vocabulary to describe something so abstract that’s exclusive to creative people.
9. A lot of your work could be considered to be melancholy or ‘dark’, which coincides with the recent rise in darker imagery being more readily available to the general public.
What is your opinion on dark art and do you ever worry that some people might not like, or be offended by your work? Additionally, how do you navigate the creation of your work so that you create images that tell a story, but are not just deliberately shocking or controversial?
The first time anyone was offended by my work was when, at 15, I shared a drawing of someone wearing a “Cheap Sex” shirt on Myspace. Some old fart threw a fit, called me sick, cursed at me. I learned early on that offending people isn’t the worst thing in the world and I let it slide. If someone wants to be offended, they’ll find a reason to be. Art can be very uncomfortable to people when it challenges their long-held beliefs.
I’m happy that dark art is more accessible now because I find it more honest. The flowery days of old are long gone and there’s more reason than ever to shatter long-held social norms. It’s dangerous, it’s liberating, and it’s wonderful.
As for telling a story, rather than being deliberately controversial, I’m an illustrator first and foremost. I absolutely must have a story in mind before I even start sketching. I’m always trying to communicate something, though sometimes I purposely keep it abstract so the viewer can decide for themselves what the piece means. I do a lot of heavy research or pull from personal experiences when it comes to developing the imagery and all the details. Every detail you see has a reason for being there. If the piece ends up being controversial, it’s likely because the story being told covers very taboo topics. Surprisingly, I rarely use nudity when illustrating something really controversial.
10. What is your creative process like?
Do you have any routines that help you create your work and how do you know that an idea is worth pursuing?
Additionally, at what point do you know that an image is finished?
I have a very rigid creative process.
Whether I start in a cafe, an airport, or in-studio, it’s always the same. coffee – sketch phase – revisions – final drawing – finish – revisions.
I have an electronica playlist that’s more meditative and abstract for when I’m still working on sketches and the ideas are not yet set in stone. I get up and walk around a lot, I mutter to myself, I find an animal to tell all my thoughts too, all the while periodically returning to drawing and shifting and moving. Very fidgety. Once the client picks their favorite sketch, I move into the finished piece and put on some heavier music and I can sit there for a long time. Sat for 18 hours straight at the longest, no food, just hunched over like a goblin, working.
I guess I’ve done my process of “draw, ink, colour” so many times that I intuitively know when it’s finished. It’s very formulaic for me. I think I would go completely insane with an oil painting and the idea that “the painting tells you when it’s done.” I need heavy structure, otherwise my thoughts get scrambled.
11. In your opinion, what makes a good image and what was the last piece of art or media that captured your attention?
My opinion of a good image has changed a lot over time. Once, I used to think the more rendered an image is, the better it is. Now, I’m finding that my favorite kind of imagery is well drawn within its imagined world, beautiful, funny, and relatable. I’d like to take a moment to highlight Angela Oddling, who’s a brilliant artist that I think encompasses all of those qualities. I like art that feels inviting and warm, but I am guilty of getting turned off to it if the anatomy is too unstructured. Technically, I still think every element of an image must be done with effort and purpose. Lord, I know that sounds insufferable, but it’s my personal preference.
12. What does it mean to be a successful artist and how do you measure the success of your own work?
I don’t. If I started taking into account ways of measuring my success, I think I’d go insane with constantly trying to out-do myself and maybe other people. Takes the fun out of making art and I don’t want to become competitive about it.
As long as I can pay my bills, I’m happy. Thing is, I am constantly trying to outdo myself, but that’s more about expanding my subject matter and developing greater skills. I stay in my lane and my work makes a positive impact, so that’s enough for me.
Success can mean whatever you want it to mean. I think we need to divorce the idea of “success” from being a good artist because it’s usually about living up to someone else’s definition of the word. That shouldn’t be a factor in how you create, unless you have a client to keep happy.
13. Which is more important; the skill of an artist or the personality of the artist?
Additionally, do you think that people have a good insight to you as a person, as well as an artist, on social media? Is it important for you to be approachable?
Both matter equally, I hate to say. In a perfect world it would just be about skill, but you do have to have a bold personality. Meaning, you have to be willing to take risks and put yourself out there if you’re going to establish yourself as a professional. You also have to know how to present yourself in a way that keeps people engaged without frightening them too much.
Most people have no idea who I am as a person on social media. I value my privacy and I keep very quiet on my personal life, even on most of my opinions. If it’s unrelated to art, I rarely talk about it. I like to keep my pages a chill, fun space where people can rest their eyes, if they like. I’ll post a weird selfie every now and then just to keep things interesting.
Ideally, I’d love it if people saw me as approachable! I’d much rather make friends than be intimidating, but I have found that a lot of people are intimidated! I’d like to take this opportunity to say if anyone sees me at a show, I would love for you to say hi and show me pictures of your pets!
Professionally, I don’t think it’s too important to come off as approachable. Ultimately, if I fit the bill and someone wants to commission a piece, they’ll come talk to me. On a personal level, I always like meeting new people. So, yes, I would prefer to be approachable.
14. What would your younger self think about your work?
My younger self thinks I’m the coolest thing since sliced bread and she definitely wants to be me when she grows up. My work is everything she ever wanted to see, down to the colours and subject matter. I actively do quite a bit of work to honour her. I’m so grateful I could make that little munchkin happy.
15. Do you have any advice for any aspiring artists?
Oh, lordy. Let me start by saying that I am so sorry for the road ahead. It’s going to be the most rewarding path ever, but you might lose your mind in the process. Be ready to take a beating because you will have your ass handed to you many times. Try to become numb early on and get used to rejections. If you’ve got a masochistic streak, GREAT! Keep pushing yourself to be the best you can be. Don’t worry about what Joe Schmoe is doing, stay in your lane. If you’re doing this for the glory, turn back. There is very little glory and there are going to be very few people who support you when you start to pursue this seriously.
I wish I could tell you this was all sunshine and rainbows. That being said, do it. Do it because it’s better to give your all to something meaningful than it is to sit around in an office with fluorescent lighting, wondering what could’ve been.
16. What are you currently working on and where can people find more about you and your work?
Right now, beyond my illustration work for Kerrang!, which can be seen on their website and social media, I’m working with multiple publishers on book covers and concept art. There’s even some educational illustrations coming up for a STEM calendar geared towards children. I’m also consistently working on posters and graphics for Trashville, which is a London based alternative art, clothing and entertainment brand. I’ve recently started developing a cool series of posters for a monthly event they host in London at The Camden Assembly. You can check Trashville out on IG @trashville_ldn. I always have a lot of irons in the fire, so you can check out my newest work on social media. I make sure to consistently update my IG and FB. You can also see all of my full portfolio on my website, daniellabatsheva.com.
