An Interview with Rina Freiberg
In an era that is currently dominated by stories of economic gloom and a feeling of general malaise, it is always inspiring to discover someone who loves what they do and Rina Freiberg, 23, is such a person. She is eloquent, passionate and full of infectious excitement when describing her art, showcasing a dramatic flair that is explained when she reveals that she’s actually an actor by trade. Over the past year, Rina has recently begun to focus on her artwork, favouring abstract portraits dominated by lashings of bright colour, bold lines and haunting eyes. Her first solo exhibition, Rrah #23, housed in a pop-up space next to the Swallow Bar in Maylands, has just concluded and the talented Rina sat down with Vashti to discuss her work.
I notice that much of your work seems to feature faces; you obviously like portraiture.
I think faces are the most important form of communication that we have as human beings but often we don’t look at other people deeply enough to notice them. When you actually look at someone you know well, you see him or her in a completely different way.
How would you describe your relationship with your art?
Out of every one hundred paintings that I do, I’m actually happy with only one; there aren’t many paintings that I can step back from and say, “I don’t care what anyone says about this.” But it’s a wonderful place to be in when I finally create something with which I’m happy.
Art frees me. When I have colour on my brush and I’m moving between canvasses, I feel a real independence. I have drawings and paintings scattered everywhere – on my arm, on my napkins! I think most people need an outlet for expression and painting is mine. At the moment I feel like I’m painting like I never have before, and I feel so accomplished.
How has your work changed over the years? Do you think there’s an identifiable growth pattern?
My drawings have been very dark in the past. They started out very cocoon-like, web-like; they often featured very distorted faces. Over time, the webs and cocoons have dissolved and there are more formed figures. The colours I’m using are also in complete contrast to those I used a few years ago; I used to intensely dislike the colour yellow and pink was a colour that I’d associate with hate and anger. I was in art therapy class once, and we were told to create a picture that made us feel anger, using colours we felt were angry. I painted a pink flower with a yellow background with a lime green stalk.
When you paint, are you trying to draw a response from the viewer?
I’m not a desperate actor; casting directors can smell when you’re desperate and it stifles your creativity. It’s the same with my art; I think it’s a mistake to overthink your creations. Of course, as a painter, you want a response from the viewer. But I’m not trying to make you feel a particular thing; I paint how I feel and I try not to censor it. When someone talks about my work, it doesn’t matter to me whether they like or dislike it. It’s simply very inspiring for me as an artist for people to have any reaction at all. Even no reaction is a reaction in itself; there is always a reason for people’s behaviour.
What was it like to have your first solo exhibition?
It was great, especially in terms of foot traffic. I had an art teacher from Iraq come in and, in broken English, said he was surprised some of my work was so dark considering where I lived and my background. It was difficult trying to explain that my painting reflects a part of me and that the darkness is something I’ve known. But that personal connection with people makes art worth it to me. That’s why I have postcards with my work pictured made up; I love the idea of people with no art background or no access to art on a daily basis sticking up a postcard on their wall. It’s something I do myself, and I think it really opens your mind and helps you engage with art.
Do you think young Perth artists receive the support they need?
It has been a challenge. You are working on self-belief alone, and I find it hard to spruik my own work. We all have our insecurities, even though I’m fortunate to have the support of my family.
There are people that do want to support young artists; you just need to put yourself out there. I think there is a hunger for art in Perth and the current agreement that the Art Gallery of WA has with MOMA is definitely beneficial in that respect. There’s something inspiring about standing in front of an iconic work in the most geographically isolated city in the world.
By Isabella Depiazi