Interview With Azirca, of Speak Without my Voice

Todays interview is with Azirca, of Speak without my voice

Please tell us a little about yourself

And a little about what you do

I reside in the beautiful land of New Zealand where our winters are brisk and our summers are balmy. I still live in the town that I was born in and have no desire to move, I love this little old town. In a five-minute drive I can be in the country or by the ocean. I can see the mountains, feel the ocean, smell the salty sea air.
I live a simple yet fulfilled life with my beautiful partner of 21 wonderful years.
My passion is creating assemblages and capturing images of the world around me as I see it. I create art from my soul and many of my pieces are part of a journey of self-discovery and personal growth.

Out of your work with photography and assemblage, which one do you prefer and why.

To be honest I couldn’t choose just one, I adore them both equally. I really think that it depends on my mood and what is inspiring me at that particular point and time as to which medium I go with on the day. I’ve been taking photographs for longer than I have been creating assemblages but I do enjoy both.

I enjoy your photography as much as your assemblage work. The photos seem more tranquil.

I guess that my photographs do tend to be more tranquil than my assemblage work. I think that the reason for this is because I’m able to manipulate my assemblages more so than my photographs. Personally I feel that my assemblage work represents more of a deeper level of conscious and sub-conscious thought so it’s understandable that when comparing the two mediums that my assemblages may appear less tranquil. You could liken it to the Ying-Yang scenario where one balances and compliments the other.

How long does it take to create an assemblage piece and how do you come up with the design

The time that it takes me really depends on several things, things like; my health, whether the piece is flowing in the direction that I would like, whether or not I need to hunt for a particular element that the piece might require, that sort of thing.
As a general indication though I can work on a piece anywhere from a week to several weeks, possibly longer depending on size. When it comes to finishing a piece I tend to be my worst enemy though, once I start I really like to try complete the work before moving on to start another. It’s the way that I prefer to work.
The design usually begins as an idea that has been floating about in my mind, a word or a phrase, or something that has just come to me usually when I’m lying in bed trying to get to sleep. It’s almost like one of those eureka moments and I have to get up and jot a few ideas down otherwise I wont be able to get to sleep! Those pieces are usually something that is created fairly quickly as I don’t have as much time to think the process through, it’s all about getting the idea out and turning it into something 3-dimensional. Sometimes I will roughly plan a few details on paper before I start, such as, layout and which elements I might use. However in saying that most of time my plans change as the piece progresses and it nearly always ends up differing from my original plan.

When did you realize that you were a creative soul? And what was the first thing that you created?

I’ve always been a fairly creative soul. I remember as a child having a desire to create things using boxes, card and cellotape. I’d always be asking my mum to keep little boxes, packets, lids and containers for me so that I could ‘make something’. These days I am happy to say that cellotape is still used in my work but I have found other stuff that is a lot stickier like ‘no more nails’!

The first thing that I created would have to be one of those many sculptures of ‘junk’ that I handcrafted as a child.

What most inspires you?

Everything! Colours, juxtapositions of objects, words, emotions, people, music and numerous other things inspire me.

Are there certain artists that you feel connected to

It is usually the artists whose work really strikes me at a level that I’m not expecting that I feel a connection with. It brings to my consciousness a message or way of thinking that moves me. I guess you could say that it stirs my soul.
I do feel like some artists understand what my art is about and in turn there is a bond of common understanding and admiration.

Do you have a studio in your home and is it a place that you feel the most creative, or is it just a place to get your work done.

Yes, I have a very small modest studio in my home. It used to be a spare bedroom but I’ve commandeered it for my place of creation. I dream of having a little studio of my own in the garden with skylights, french windows and doors, just as well dreams don’t cost lots of money! My bedroom studio is lovely though and I do feel creative when I’m in it, I just wish that it got more sun. Over the winter months it can be quite chilly and I have been known to gear up with wool hats, fingerless gloves, arm warmers and thick jumpers just so that I can venture in there!

The name of your blog is Speak Without my Voice, why did you choose that title

The name is a line of lyrics from a favourite Incubus song of mine, called “Pantomime”. It simply means that I am expressing to viewers the world through my eyes using the visual mediums of art and photography as opposed to the written word, the ability to speak without my voice.

I have read in your blog that you suffer from FMS, how does that affect your art work

Many of my pieces are based on emotions that are bought about by having a disability and all of the numerous issues that go with it. On a personal level my art is an outlet of expression and release. To create something solid that I can actually physically hold and feel knowing that it stems from a hidden disability helps me to deal with issues.

On a physical level having FMS is so very frustrating. Learning what my pain triggers are and limiting them if possible is a big help but unfortunately this condition likes to sneak up on you when you least expect it making you feel pain and discomfort all over for no reason. When I’m having a particularly bad flare I avoid all artwork, my arms become very achy and tired that even holding onto and peeling a potato is a mammoth task.

How do you cope with not being able to create while you are having an unusually bad bout with FMS

It’s not easy, I absolutely hate being ruled by my body and pain but unfortunately I have no choice but to listen to my body and try not argue with it quite so much, however there are still times where I overdo things and yes indeed I suffer for it. If I’m in between pieces when I have a flare I just rest and wait for the pain to ease. However if I’m halfway through creating something and the fibro kicks into gear I have been known to try to ignore it and carry on working which only ends up making it worse and it takes a lot longer to recover. Like I mentioned earlier, I like to finish a piece once I start and having to stop halfway through is somewhat frustrating to say the least. I’m still learning to deal.

What are your plans for this coming winter? (ha, it is spring here and I almost asked you what your plans for summer were are)

I don’t make plans too far ahead as I never know what I’m going to be like. I try not to put too much pressure on myself with taking on too much as I feel terrible if the worst happens and I am unable make a deadline. With that being said, I’m sure that I’ll create something over the winter months, I’m just unaware as to what that might be yet.

You have a wonderful blog with beautiful pieces of art and I would like to thank you for taking the time to be interviewed.

I look forward to seeing more of your art work.
Thank you very much.