Did you always want to be an artist growing up?
I always knew I was going to do something creative.
However, I didn’t have a clear vision of how I wanted this to look.
I was always trying everything and did lots of creative hobbies as a young kid. During my school years, I would spend my weekends attending art lessons and learning from artist mentors.
Eventually, this led me to Curtin, where I did graphic design and creative advertising.
This degree allowed me to try many different art and design units, from graphic design, fine art, textiles, and photography – all the things I loved to do.
Some of the design skills I learnt were invaluable, as they taught me how to clearly communicate and present my work as a professional artist.
What fascinates you the most about the visual arts?
Art is powerful as it shapes the way we experience what’s happening around us.
It can give us a new perspective, but can also be emotional, grounding and beautiful at the same time.
Unfortunately, art isn’t always accessible, and we can do better when it comes to educating people on how to engage with creativity the right way.
I believe it’s important for everyone to feel like they are welcome in this industry and that the arts are not exclusive to the wealthy and privileged.
Becoming an artist is a language that you have to learn, and if you want to get something out of it, you must put something into it, not just as a creator but also as a viewer.
Why has it been important for you to work across different mediums?
It’s challenging in a lot of ways, as I’ve always had many projects on the go.
But I know that if I had to do the same thing every day, I would honestly get really bored.
So, I think switching between different mediums and techniques allows me to problem solve, experiment and extend myself in ways I would have never envisioned as a young artist.
I’ve always viewed my art practice as a constant evolution and innovation, and I’m always striving to create something that hasn’t been done before.
Can you share a bit about your artistic process?
Honestly, my process is always evolving.
Currently, I’ve been doing a lot of phone photography for my reference images of moments in nature. Then, I print these images out and put them into a collage composition.
I’ll then work back into the collage and add some lines to create intersections of textures and moments to represent the freely spreading bush shrub in the natural world.
This composition image will be the reference for the print. I will roll ink onto this, draw back onto it and then wipe it away to create the image. Then, you can print another monotype on top of that and add several layers to build an image.
What has been one of the biggest challenges you’ve encountered?
The art industry is such a different world and operates very organically, which means that every job is different.
There’s no formula to follow, but that’s also why it’s amazing!
Honing my own artistic voice and prioritising my practice have been challenging, as most of my work right now is client-facing.
I feel like many young artists encounter this struggle of staying authentic to themselves.
I’ve found that saying no has been the hardest thing, and I’ve had to work very hard to get to a point where I can say no.
But having a vision and creating boundaries for yourself is so important. This is what will give you the space to create sophisticated work that truly makes an impact in the world!
What advice would you share with a young Mikaela?
I’m often very impatient and want to try to do everything all at once (laughs).
But through experience, I’ve learnt to pace myself a bit more, be more reflective and strategic with what I’m doing.
Also, I would tell myself to be gentler on myself and slow down.