'Artists can transcend languages.'
Eugen Varzic works from his studio in Croatia. He has exhibited nationally and internationally, with a body of work that is predominantly figurative realism, exploring human themes affecting society and individuals.
Where is your current studio? What would be your dream studio?
My current studio is in the backyard of my garden, as a part of my house, and it's located in Croatian region Istria, South of European Union. Actually it's my dream studio because I always wanted to have a studio near my home. Maybe it could be bigger. It's always good to have a big studio, but at the moment I'm dreaming of a big warehouse where I can keep and store my finished paintings.
Do you prefer to work in silence or does certain music inspire you?
I never worked in silence. I'm kind of addicted to music and I always search for new music. Also, my 21 year old daughter is a perfect source for new trends in modern music. Sometimes during the art process, music pushes you, has an influence on you, takes you in a direction that maybe you didn't plan on going in your painting. I'm not saying that musicians make music surrounded by paintings, but I believe 99% of artists are addicted to music. Sometimes I change the type of sound that plays in my studio and instead of listening to music, I play documentaries or listen to podcasts. I take this time as an opportunity in which I can learn about different things that I don't know anything about. So I just listen, and lean and paint and so far it's been a good combination.
Studio life can lead to isolation, how do you address this/ keep a balance?
Isolation, it's a part of processing information and progress, part of living a painters life. As a painter I believe you need isolation. You don't have a boss, you don't have working hours, you are on your own, your art demands isolation and commitment from you. That's why I never paint in crowded and noisy places (except for the music in my studio).
Isolation is good to me. You are in a battle with yourself, during the process you are allowed to behave in certain ways, there are moments during the creation that nobody needs to know, there's this mosaic of secrets that brings the painting to life. Somebody would call it insanity, but to me this is the creative process. It is pure freedom. The practical part of keeping my balance is also in sport and working out. I work out regularly with my wife, since she is a professional fitness instructor. This also brings balance to our life in general because she is the biggest supporter for all that I do. Another activity that helps me calm after the creative process is riding my motorcycle. On a motorcycle there are no distractions, only the road and speed. It's a type of meditation for me.
Describe a moment you had an epiphany concerning your creative life.
It was the moment I met one of the last great masters, Antonio Garcia Lopez, when attending one of his workshop. The few of us that were there for 10 days, in a private Museum in Andalusia, we were discussing, talking and working together on our practice and bonded thorough that. And in fact he didn't teach me anything new about painting itself, like technique, or something similar, but he taught me how to process the world around me,
how to make what I desire to achieve real and how to place all that comes and lives inside of you, on the painting. He taught me the small secrets, tricks and tips about everyday life that you learn through time in your life as a painter. That was all part of this epiphany.
What is your favourite/ least favourite part of the creative process?
There are no favourite or least favourite parts of the creative process. I'm immersed in it, all day and all night, and this way I am certain something, some idea or concept, will always emerge. I always try to find inspiration, or the initial idea in the small things in life that we are living. I paint life in the sense of living, so in this way, I am always in the creative process.
Do you have a personal mantra or quote which serves to motivate you?
I used to say: when I make it, I will be twice as happy, (once) because of the ones who doubted me and (twice) because of the ones who believed; but now maybe it's: living well is the best revenge.
How has your style evolved and what contributed to the changes?
It evolved in different ways. It's changing constantly, because I am in a constant state of learning and searching. I always want to be better. In the beginning, I wanted to be part of the "official" art schools, academies, and I was; but later, I left all of the artistic associations, just to be on my own, to be free, not a part of any group.
An obvious obstacle was the war in my country, back in 1991 since I was a young soldier at the time. This was the first thing that had a major impact on my creative process. Even if I was only 19 in that time, my idea of becoming an artist became 100% clear then as it is now. During that experience I didn't want the war to define me or my art or anything around me. It was just a one-time experience that I got a chance to learn from.
I was always a figurative oriented artist, amazed by the great masters, experimented a lot in techniques and motifs, but there was always a strong figurative approach in my paintings. I love artistic world heritage, not only the paintings of the fine arts, but also architecture, sculpture... I enjoy it wherever I can. For example, when I spent some time in front of Tintoretto's painting, I got a quick answer to the question why he is great master. That understanding keeps me alive as painter, this connection to the art and it's message that only painters can understand.
Describe an obstacle you have faced and how did you overcome it.
Things used to be obstacles for me but now I see an obstacle as a challenge that I can learn from. Obstacles in the negative sense were a kind of thing that I had to turn into positive and creative energy. I learned a lot from many different experiences through this kind of thinking.
Nature versus nurture- do you believe you have inherited abilities from creative parents, do you have creative siblings? Can you identify environmental factors or influences which led to your choices or directions?
Honestly I don't have that kind of information. My mom used to write a lot when she was younger. I chose my direction because, in actuality, I had a problem with functioning in systems. I hated mathematics. I was a dyslexic child and it was hard for me to function in a given structure. So the only system that I understood and that spoke to me was Art. I could sit alone for hours on end and just do art and be happy because of it. Maybe I created an environment that nurtured my creativity by myself and it in itself created a type of virtuous circle.
Right now, my 15 y old son is trying to insert himself into the world of art. I think this because he himself learned to appreciate and love art by being surrounded by it, not necessarily because I am his father. Good thing is that he has completely different ideas and ways of thinking about art from me.
Is there something you regard as essential to your preparation or process?
Well, I'm not bravest when it comes to asking people to be my models. During my process I need to learn about them, what inspires them, their life story and how they became the people they are today. For many this can be quite intimidating, letting a friend or a family member in on your secrets and presenting them the way they think is best but this is the essential part of my process.
Through this I can decide on the way I'd like to pose them, what kind of emotion they could convey the best and essentially learn their character enough so that I can place it in the concept of a particular painting. Their face and the story it tells is just one of the building blocks behind my art, however it is a fundemental part in my creative process. Lots of people asked me to be my model, and they expect a beautiful painting but that's not always the case. I place myself in between the colors, the canvas and the models so the painting can represent my worldview, not your beauty.
Detail a moment which was the highlight for you, thus far.
All moments in my career are important. All those small pieces that create a bigger image, I remember well. Our conversation here is a highlight, because you offered me this amazing opportunity to represent myself and it was based in my artwork. Maybe right now in this moment, a highlight would be the fact that my son found inspiration in me to become an artist.
If you could time travel, what advice would you give the younger you, regarding pursuing your artmaking?
I would say - just keep on rocking you hammerhead. You are going to make it. That's what I would say. Just keep on working it pays off. I would say it with a smile on my face.
How does your work respond to social trends?
Well, my art is actually a reflection of the social trends, but I make a selection. When everybody was talking about refugees entering the European Union, I was also talking about the refugees, but through the stories of young people from my country that had gone to other ones because of the economical situation here. They became refugees of Ireland, Germany or Austria. I spoke on the current problem, but in my way. I don't have to paint a portrait of George Floyd to talk about racism, I always try to go deeper, harder.
What do you hope to convey through your work?
I'm immersed in our lives nowadays and I try to convey the reality of it. Somewhere deep down we are all still human, even if we try to close ourselves off to the things that happen around us in order to protect ourselves to the point where I feel like during the next ten years the fundamentals of the human being will be changed. Because we all read about the implants that will be available for the human body that will turn us into some kind of cyborgs in the future I try to convey the truth we as individuals and as a society are living today. Our old beliefs, our religions, emotions, all of it will be changed with time. It won't go away. It'll be still here but it will be directed, or controlled. I'm sure of that. I paint life on its way to another state of being.
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