Working on my doll queen monster and listening to some lovely music by Billie Eilish (work in progress for a collaboration with La Maison Rebelle).
An oldie in new clothes! “The Tenants” by Mia Makila, 2019, digital collage (based on a work from 2006).
I just woke up from a strange dream. I was in an old and abandoned SPA facility with a friend. It looked like a tiled circus tent with bright colors. We looked around and found a staircase to another floor, where an old lady had a dusty record store. There was a door to a garden in the store. I was carrying a naked wax doll into the garden and put it on the grass. Suddenly she came alive and her body became warm and she looked at me with her eyes wide open. She started to scream. I picked her up and held her in my arms. She made resistance. She wanted to escape but I wouldn’t let her. Her heart was beating so fast. She was strong, but I had her locked in my arms. I tried to soothe her and hush her while sitting on the grass with her facing the garden. I could feel it working. Her heartbeats were finally slowing down. “Good girl. Your name is Echo”. I said. Then I woke up. I could write a story based on this dream, it was like a seed to something creative.
Yesterday I spent the whole day in PhotoShop. My wrist is a little sore today. But I am having so much fun. At the moment I am working on two pieces about houses and they will be the last ones. I need one house where my story begins – where my trauma started, The working title is “Genesis”. And then I need one last piece where the story ends. It will be a love tribute to my home with Johnny.
I think I am done with the houses now. I started making them in 2014, right after I had left the man and the house in Stockholm. When I became ‘homeless’ in so many ways. I don’t feel homeless anymore. Not in any way. So it’s time to wrap up the digital suite about houses.
I feel like I am entering a new phase in my creativity. My skills are improving so fast and my ideas are bolder and more complex. I am also using more contrasts in my work. It highlights the rawness of my style.
Today is International Women’s Day and I am celebrating it by refusing to be held back by anything or anyone. Not by my critics, not by my fear and not by my own past. When I was living in that house in Stockholm, I felt censored and I held back so much of what was me. It’s very uncomfortable for me to look at my art from that time. They are ridiculously foggy and submissive to the viewer. You can hardly see anything more than a pastel colored mist.
Here is “Tess” from 2012. You can see how I’ve worked up the contrasts in the first version and the original, foggy version:
More foggy works from 2012:
You can almost follow my journey through confidence and bad self-esteem just by looking at the palette in my art. It went from fiery to foggy and now I am all about contrasts.
Work from 2006:
I will rest my wrist today and spend the day doing other things. I just can’t seem to shake off that dream. Echo is hauting my mind.
I have spent the day with old episodes of Frasier and writing poetry that I will add to my digital art. I’m feeling a bit drained from yesterday’s experience. But I had so much fun up on that stage.
The discussion went smoothly and I made the audience laugh many times. I like making people laugh – even if I am talking about serious matters.
Before the discussion started, some of my horror sisters were swapping recipes of the perfect fake blood and how to stuff animal intestines to make it look even more gross and fabulous. I found it very amusing. “What is the best ‘base blood?'” they asked. And ‘You’ve got to add some Burnt umbra to the Crimson to make the perfect shade of blood when you are painting, otherwise it will just look like ketchup.”
When we were asked about what we consider to more frightening – reality or fantasy, there were no hesitation to state that reality is far more frightening than any horror movie or artistic expression – and that life itself is a very scary concept. Some of us create horror to deal with dark themes found within ourselves – others are celebrating certain aesthetics associated with horror.
When the question about artistic influences came up, I mentioned early renaissance artists like Bosch and Bruegel but also David Lynch and my art crush Edvard Munch. Other girls were inspired by Mary Shelley, Hitchcock, Kubrick, Tim Burton, the symbolists and the PreRaphaelites.
Then we went on discussing the worst horror clichés – I said I can’t stand the asian horror cliché of creepy women with long, black hair – I find hair beautiful and sensual” I said and added: “Perhaps that’s why I make my demons bald”. A few of the girls hated the cliché of the slutty blonde who gets killed early in horror movies and typical scream queens.
When asked whether being a woman in the horror business gives us an advantage or if we experience difficulties because of our gender, I talked about how I feel free to explore raw sexual themes (especially the sexuality of young girls) and perversions without being questioned. I definitely think a man who would do what I do, would have a tougher time. I am not judged as “perverted” or “insane” but rather considered to be “exotic” and “daring”. I love being a woman. And I love exploring the world of horror from a woman’s point of view. So much of my horror is about fear, shame and pain – whilst many male horror artists deal with subjects like rage, violence and intimidation. I think there is a difference between how men and women work with darker themes, but of course there are many exceptions. Some women celebrate vengeance in their horror expressions and aggressive energies – the only aggressive quality to my work is the way I let my vulnerable lolita demons take up space and flaunt their wounds and their pain. I have been censored and suppressed by many men in my life – and through my art I am able to break free and to be loud and say “fuck you!” without being aggressive as a person. It liberates me. I am able to turn my shame into artistic expressions of vulnerability and then it’s easier for me to accept myself and feel more empathetic towards myself. It is my way of healing and recovering from humiliation and submission.
I am happy that I got the opportunity to talk about these things in public – and now I am hungry for more public adventures. This was the starting point in the second chapter of my art career and I finally broke through the wall that’s been standing between me and life outside my studio. From here, anything is possible. And I mean it.
The panel discussion about WOMEN IN HORROR was amazing! I felt a sisterhood to my fellow horror creators and I could have stayed on that stage longer because it was such an inspiring discussion! I also took pictures of other things which inspired me during my two days in Stockholm, I will post them later.
The women in horror included (from left to right): Aurora Walderhaug (horror art, horror comics), me, Ella Moe (horror creator in music, film and art), Valentina Chamorro Westergårdh (horror movie director), Annika Algrot-Andersson (horror photographer and costumer designer) and Sarah Giercksky (horror movie director and enthusiast).
I will write a longer post about what we discussed tomorrow, now I’m just ready to knock out – but I’m feeling happy and proud of myself. (You can find the new post here)
They introduced us as “the finest of female horror artists in Sweden”.