Emily Filler on the Nature of Collage
Emily Filler, creative and artist, shares her stunning mixed media pieces, strong in graphic vibrancy and minimalism. Based in Toronto, Canada, Emily opens up about her creative process and how to start over.
Artist, Emily Filler, in studio
KARDIA: What does your studio day look like? Do you have a specific routine you stick to when you are creating?
EMILY FILLER: I would say I have a loose routine, but that every day is a bit different. Some days I have errands to run, sometimes I have a show coming up so I work really late. Typically I set out what I’d like to get done in the week and then think about what I need to do each day to make that happen. I do plan a bit in advance. When I go into the studio I have an idea of what I would like to accomplish that day. It doesn’t always work out but it’s nice to have a goal in mind. It also helps to manage my time when I have a deadline.
I tend to take my time in the morning (I like to do a bit of exercise and reply to emails) and then work throughout the afternoon into the evening. I typically go to the studio 5 days a week and take the weekend off (so that I can see my friends who have a more regular schedule). If I have a show or deadline coming up I might go everyday. I have a bit of an afternoon ritual where I leave the building and go out and get a tea or a snack. But mostly when I’m there I’m steadily working, I don’t take too much time to sit back and look at the work. Often I take pictures right before I leave and then obsess over those until I get back the next day.
Bouquet (colour block + dots)
Mixed Media on Canvas
K: What would you say is the greatest duty of an artist?
EF: I think that answer is a bit different for every artist. Ultimately the duty of the artist is to create things that are true and meaningful to them. Some artists use their work to open people’s eyes to various issues, some artists create an escape for the viewer. All of this work is important. I think for me I enjoy that my work makes people happy. Many people have written to me and have told me that looking at my work makes them feel good. In a world that is so crazy you sometimes wonder what you are contributing towards making things better, but if my work can bring some joy that means something to me.
K: How did your experience as an art student compare to working as an artist now? Is there anything you wish you could tell your younger self?
EF: I was lucky enough to go to an art school where we were given a ton of studio time. It was sort of unlimited. So in that sense it gave me a really good idea of what it’s like to spend long hours in the studio, which is what I do now as a working artist. When you are a student you don’t exactly know what your voice is yet, so you’re trying a lot of different things out which is really useful. I actually think a lot of working artists could benefit from that “try anything” mindset even after their voice or style is established. I do think as a student I tried a bit too hard to make the art I thought I was supposed to make. My work is so colourful and playful now and I think I had this idea that you had to be a bit more dark and disturbed in art school. But I wouldn’t change that because it was a really fun exploration. No one talked about having a career as an artist, or if they did it was sort of implied that it was very challenging. I think if I could tell my younger self anything it would be that it is possible if you put in a lot of work and have the drive and desire to do so.
Filler’s Studio
K: Where do you find inspiration? What things in or out of the studio spark joy in your life?
EF: Inspiration is everywhere if you are looking for it. I find it on my walk to the studio, in magazines, looking at art books, on Instagram, in galleries. But also in more unconventional places. I like to go to expensive department stores and look at all the patterns, colors and textures of the clothes there. I sometimes stop people on the street and take pictures of their outfits if I like a certain color combo. I have found a lot of inspiration from fashion. I also find inspiration while making the work. I do a lot of collage work and the nature of collage is that you try a bunch of different things until you like the way one option looks. I can feel sort of blah about a piece and then one small change or addition and suddenly I feel excited and inspired.
K: Have there been any specific challenges you’ve faced during this time of pandemic? How have you managed to keep your balance?
EF: I am a bit of an anxious person so the pandemic has really brought that out. Every delivery, supply run, visit to the hardware store makes me a bit nervous. I am really lucky in that I don’t share my studio with anyone and that it is walking distance from my apartment. So basically for the first few months all I did was walk to and from the studio and work. Even though I felt anxious in the outside world I felt very safe and calm in the studio, I’ve been able to work like usual which I’m grateful for. Working in the studio has helped me find baIance.
It has been tricky to find certain supplies and also I work with a printmaker who lives outside of the city I live in and haven’t been able to work with him. We are trying to figure out a way he can help me with my work even though I am not travelling to see him.
Paper Bouquet (red + black vase)
Mixed Media on Paper
K: Who are some artists that you are in awe of?
EF: I find the way Rauschenberg worked very inspiring. He was so innovative and experimental. And his pieces are some of the most beautiful things I've ever seen. I like Twombly, Matisse, Warhol. In terms of more contemporary artists I love Etal Adnan, Mickalene Thomas, Chris Martin, Kerry James Marshall, Amy Sillman, Sterling Ruby, Yayoi Kusama.
K: Have you always been creative and producing work? Was there a time in your life that you felt more connected with your art making process?
EF: I would say I feel very connected with it now and for the last several years. I’m having a lot of fun in the studio and really enjoy the work I’m making. Pretty much since I was little (I loved coloring so much) I’ve been making things. It wasn’t always painting, but I’ve always been a creative person.
Dreamscape (into the garden) II
Mixed Media on Canvas
K: How do you deal with your inner critic?
EF: I don’t really think much about my inner critic. My inner critic is definitely there but it seems separate from the creative part of me (if that makes any sense). Like in the studio the creative part almost always wins. Of course there are times I feel the work isn’t good enough. I could be doing better. Sometimes I hate something I’m working on at the moment. It’s hard to explain but the longer I have been a working artist the less that matters. Like it’s simply a part of the process (being critical of yourself). I just accept it and keep going. I try to use it as a positive thing, a motivation, as opposed to something that makes me feel bad.
K: How do you navigate your way through what people call a creative block? Do you have any advice for artists wrestling with a block?
EF: Andy Warhol had this whole thing about whenever something is going badly for you just say “so what” and don’t let it bother you. In a lot of ways this is too simple an idea, but I have found it useful to think this way at the studio. Everyone makes stuff they think is terrible, or feels a block of some kind. I just try to keep making things. Eventually it will get better. The worst thing I think you could do is get so discouraged you stop making things.
I have destroyed many paintings that I hate and it feels fantastic. Some people I know paint over old work. I like destroying things — it feels like starting fresh. Or if there is a part of the piece I like but hate the rest, I cut that part out and collage it into a new painting.
In terms of advice I would say -- go for a walk, work on something creative but totally different, look at books, go to some galleries, but mostly don’t be too hard on yourself. Accept that you’re having a block and just try to make anything (even if it’s terrible) to get things flowing again.
Paper Boquet (blue flower + black dahlia)
Mixed Media on Canvas
2020
K: What are some ways that community members can best support artists?
EF: There are many ways to support artists. I find social media good for this. Just sending someone a little note to tell them you like what they are doing can make a big impact. Obviously every artist enjoys it when people like and can afford to buy their work but if an artist you like is having a show you can support them by simply attending (even if you don’t want to buy anything). Tell their gallery how much you like the work. I think the easiest way to support an artist is to share their work with people you know and to let the artist know you like it too. In this day and age it’s very easy to do that in some small way.
Untitled 17
Mixed Media on Canvas
Emily’s works are available to view in person or online at the Galerie Robertson Ares in Montreal, Canada.
To view more of Emily’s portfolio, visit her home site.