Born in Columbus in 1965, Natasha began her studies as an artist at Yale University in 1987, and continued her post-graduate studies at the National Academy of Design in New York City and as a private student of the eminent portraitist Joaquim Torrents Lladó in Mallorca. Talent is an intrinsic part of her DNA, thanks to her father – the prestigious international artist of Slovenian origin, Bruno Zupan – and her beautiful mother, Jane.

By R. Caligaris

Coming from a family of artists, how did you know that art was the career for you? It came naturally. I was always encouraged to draw as far back as I can remember, and I imagine genetics. I grew up in many beautiful places around the world, and went to museums, ancient ruins and churches filled with art. This gave me great exposure to the art world.

Who has been your main influence during your development as an artist? As artists we grow through different stages and influences. I cannot name any one in particular, as there have been many through the decades, depending on my interests and focus at the time. Living between Europe and the US gave me both a classical, and modern education in Art. The Traditional Velazquez school, then Yale University art department gave me a big perspective.

Is there something that you have painted that you are most proud of? My works are my creations, like children. I do not think I have a favorite, as all are part of the creative process and part of different stages in my life.

The last couple of years we have seen a change in your style of painting. How do you come up with ideas for your new paintings? My work has always been based on collage and the mixing of various techniques which may seem like a change in style, but the underlying methods are the same. The subjects, over time have varied as I explore different fields and am inspired by different geographical locations, and light. Nature, is my main influence now, and is always mutable as is my work. There are recurring themes that appear, and disappear, reappear, develop and evolve. But If you were to put all my work in one room, I think you would see the continuity.

Do you think art is a mirror of the artist? I think part of what we do is, but I mixed with how we see the world and our surroundings. Art mirrors society and our personal experiences. We artists are like seismometers.. picking up on what is around us, both subjective and objective.

What do you want people to remember about your artwork? Tactile Memory: my work is about the tactile, the ephemeral moments in time. I am a sentient by nature. Capturing those moments in time reminds us how formidable nature is. We live in a very digital, virtual, flat screened world now, and I would like to reconnect with nature which we must protect, and value, as without it we will self destruct as a civilization. Aesthetics and beauty are also very important for me. The preservation of it, I believe pacifies our distracted, troubled minds and allows for contemplation and reflection.

What is your most important artist tool? Is there something you can’t live without in your studio? I have many tools in my studio which I could not live without. How can you compose a symphony with only one chord? Collage is my technique, and that involves many different elements. But, if I had to chose only one, it would be my imagination, as without it I could not create.

NATASHA ZUPAN