Experimenting with Space: Learning from Sonja Garcia
- Kristin Fiorvanti
- 2 days ago
- 3 min read
On our day dedicated to experimentation, students in the Summer Fine Arts Academy had the opportunity to learn from painter Sonja Garcia, whose work explores portraiture, identity, and the complex relationship between artist, muse, and viewer. Born and raised in Oahu, Hawai'i and later studying art history and studio practice in Rome, Sonja's paintings investigate both the physicality of paint and the emotional spaces that exist between people. As she writes in her artist statement, her work is an attempt to explore "the tensions of capturing the sitter's essence and the impossibility of true knowing." Through portraiture, layered color, and thoughtful compositions, she challenges viewers to consider how we see others—and how much of another person can ever truly be understood.
Throughout her presentation, students were introduced to the idea that a portrait is much more than a likeness. We discussed how artists make choices about space, composition, and surrounding objects in order to communicate something about the person being depicted. Sonja shared how the items surrounding her muses are not decorative additions, but meaningful clues that help viewers better understand the subject and their story.
This conversation directly inspired our own studio investigation. Students created cyanotype portraits using botanicals, personal objects, and found materials arranged around self-portraits. Because cyanotype is a fast and highly experimental process, students were encouraged to test ideas, take risks, and discover unexpected results. Much like Sonja's paintings, these portraits became explorations of identity through both image and its curated environment.
One of the most valuable lessons Sonja shared was the distinction between "licked" and "painterly" approaches to artmaking. We discussed how some artists pursue a highly polished finish in which evidence of the artist's hand nearly disappears, while others embrace visible brushstrokes, texture, and process. This vocabulary quickly became part of our daily conversations. Throughout the remainder of the academy, students repeatedly returned to these concepts as they evaluated their own work and discussed the choices they were making as artists.
Our discussion also focused on perspective and pictorial space. Students observed how shifting viewpoints, unusual compositions, and carefully arranged objects can change the relationship between the viewer and the artwork. They began to recognize that every artistic decision—from the placement of an object to the visibility of a brushstroke—helps shape how a viewer experiences a piece.
By the end of the session, students had gained more than a new technique. They developed a deeper understanding of how artists communicate through composition, space, and material choices. Sonja's visit encouraged students to see experimentation not as a step toward perfection, but as an essential part of discovering meaning within their work.
As the week progressed, her influence remained visible in our conversations and artwork. Students continued asking themselves:
How does my composition guide the viewer?
What objects help tell this story?
Am I aiming for a polished finish, or do I want the process to remain visible?
Those questions became lasting tools for artistic reflection and growth.
In the following video, Heaven Sent Honey breaks down the essential traits of a muse, focusing on the ethereal quality of self-possession and the significance of movement. Through historical examples like Edie Sedwick and the Marchesa Casati, this analysis explores how a person's unique aura inspires artistic creation
To learn more about Sonja's life and work, follow her on Instagram @ssonjaa.a!
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