By Amanda Nordqvist
Over the last few years, German artist Seraphina Theresa has created numerous astonishing works of art, using several creative outlets such as photography, drawing, and, as of late, music. Currently based in Düsseldorf, Seraphina creates art focused mainly on nature and self-portraits, often simultaneously, and offers an insightful look at the world she has created for herself – a world in which she flourishes.
Seraphina’s drawings range from abstract to minimalistic but mostly display a lighter side to the artist – likewise, her dreamy collages dwell on the brighter side of the spectrum, all soft curves and gentle shapes. However, it is with her photography, either hauntingly grim or blissfully light-hearted, the intense intimacy of Seraphina’s art is made perfectly clear – she hides nothing, shies away from nothing, and appears completely un-afraid to shine a light on the darkest parts of life.
It is this contrast of dark and bright that seems to me the core theme in a lot of her work, and a big part in what makes her art so intriguing; still, her art is constantly growing and changing, made obvious by the drastic differences in her projects, Le temps, la vieillesse et la mort and Phase 3 - Wie es an uns zerrt, published only a couple of months apart, yet displaying and evoking completely separate emotions.
Instead of drawing inspiration from any particular outside source, Seraphina prefers to look inwards – to Hooligan Magazine she said, in regards to her collaboration with composer Sergio Díaz de Rojas, “[…] it is more about the ways I understand and experience life itself which make me do the things I do”, and that shows in her work. The art Seraphina creates – whether it be music, poetry, photography – is unabashedly personal, but relatable all the same, and frankly unnerving in its complete, uncensored authenticity.