Mixed-media artist Mystele Kirkeeng paints abstract figures and faces that convey an abundance of emotion. The story and art of this self-taught folk artist captured our interest and inspired us. Enjoy this sneak peek, and get the Winter issue of Cloth Paper Scissors to enjoy the full artist profile.
ABOVE: detail of “Open” by Mystele Kirkeeng.
Here are a few bonus questions, along with several examples of Mystele’s amazing artwork.
Cloth Paper Scissors: Do you see any of your early work mirrored in your current work, or has your work evolved to the point that the earliest influences have been erased? What prompted the evolution of your work?
Mystele: The strongest influence I carry from my older work is the freedom of exploration and an affinity for imperfection. I don’t know what I’d do if that sense of naiveté and “well, shucks” attitude was stripped from me. I have traveled lots of mixed-media roads since 2008 and have tried different aspects of creative expression for making faces and painting figures. Yet, I keep coming home to how it all began—just look in the paint and let the marks guide the painting. I shake it up sometimes, using reference images or social commentary, but mostly I just enjoy the process and the absolute surprise of where it leads me.
CPS: Do you ever look at a blank canvas and not know where or how to begin? If so, how do you get started?
Mystele: No, I don’t see a blank canvas in this way. When I look at a blank surface, I hear an invitation to create, to explore, to wander and try. I’m not a perfectionist when it comes to art making, so the beginning is always incredibly exciting to me. I just start with some kind of marks made with whatever I feel like grabbing (collage, paint, crayons, etc.), and get going. There are times when I limit my color palette, decide that I’m going to bring out a certain image from my marks, or use specific media.
CPS: Tell us about your workspace and how, if at all, it has changed.
Mystele: My workspace changes almost daily. I was a compulsive nester before I started painting; I love to rearrange things. The one thing that never changes in my workspace is a sense of flow. I have to have easy access to everything that I normally use, or I feel stifled. I like having things in their place, but my studio isn’t spotless, and like it that way.
CPS: You’ve mentioned using musical references when teaching painting and that your music experience helps you figure out what comes next. Do those references always resonate with your students? How are they beneficial?
Mystele: Music is a universal language, and most of us know what it means to be moved by it. We can tell when music just sounds pretty versus when it actually says something to us. I would much rather listen to a mediocre musician who has the ability to communicate than one who is highly skilled but unable to connect with the listener. Of course, it’s super when the musician’s skill and ability to communicate work together. This idea often helps my students as they fight through the urge to paint something nice or crowd-approved, versus something meaningful and authentic.
CPS: What is your approach to trying new techniques and new supplies?
Mystele: At this point, I only incorporate new techniques if I feel they will enhance my creative voice. I have to feel drawn to them. If I am, I just start working with them and see how they blend with my visual language over time. New supplies are few and far between nowadays, but the same answer applies.
Art and photos by Mystele Kirkeeng.