INTERVIEW
Psychorealism: Dasha Pears interviewed by Gil Dekel
10 December 2024 – Vol 2, Issue 4.
Gil Dekel: You use photography, which is a tool to document reality, but your photos do not document reality; rather, they document dream spaces.
Dasha Pears: I call my style psychorealism. I try to take the viewers through a surrealistic, but still realistic experience. I focus on the hidden reality of what’s going on in our psyche, the emotions, feelings and thoughts, and I try to make them tangible, so to speak; making them visual.
This is why I try to make my images as believable as possible. I work with models when taking the photos, and I also use my own props and take the shots in real locations. Usually everything is shot in one place and at the same time. Only after that, I put everything together in Photoshop, keeping in mind the lighting and how it will look in real life, so that the viewers can relate to the photos and feel that the dream-like scene is realistic.
Sometimes people cannot tell what is ‘real’ and what is added in Photoshop. Sometimes they think ‘oh, that’s definitely Photoshop’ but then they see behind-the-scenes photos of me on the set, realising the scene I shot was real.
‘Serenity’, 2019.
Gil: So, it is meant to be ‘confusing on purpose’…
Dasha: Yes, because if we’re not confused even a little bit then life can become boring and too comfortable. Maybe confusion is a place for growth, and an opportunity to see subjects from a different angle.
Left: ‘Key’. Right: ‘Sun in my sails’. 2020.
Gil: There seems a measured use of colours in your work. How do you choose the colours?
Dasha: Most of it is subconscious. I could say that I think critically about colour, but this is not the case. I will tell you a story. There is a guidebook about how to play tennis. Researchers were asking players for the best techniques, how to hold the racquet, and so on. And the players explained in detail. Then, the researchers watched the players at play, and noticed that they never did follow their own advice… They just played intuitively…
‘Ocean’, 2022.
I go with intuition when choosing colours. I connect to colours, with emotions. And of course, there are some accepted meanings to colours. Blue brings out peaceful emotions. Many people connect red with anger. I tend to connect it with things worth paying attention to. Something exciting, maybe something that is energetic, dynamic. This comes to me with red. And yellow (depending on the shade) is usually joyful, coming to life, so to speak. But otherwise, I really like my images to be clean, so I do limit the colour palette that I use. I think that it helps. With minimal colours, then any accented colour becomes a striking surprise in the work.
‘Doubts’, 2019.
There are usually many different objects and colours around us. Everything is just too busy – life is a busy picture. But when you see an image with a limited colour palette, you immediately think, ‘okay, there’s something interesting here, I should pay attention.’ So, this is my way to surprise the viewers.
‘Way up’, 2024.
Gil: There is movement in your work, but at the same time it is frozen.
Dasha: Yes, the works are very static because I believe that we need to value stillness. Our lives are chaotic and this chaos can bring a lot of stress and depress people. However, I see the Chaos is merely a background noise. The noise will pass but there is something bigger and more profound that will stay and will give you strength, support and connection. We can all sense it when we become quiet. This is the aspect I wish to capture through static compositions and the models’ poses.
Also, creating these still works helps me in my journey. It helps make sense of the chaotic life that I’m trying to live through, raising two kids, keeping up my art business in this hectic world…
‘Once in a lifetime’, 2024.
Gil: So how do you marry stillness and movement? In the piece ‘Once in a lifetime’ we see a strong movement created by the white lines stretching into the hill, and of course, with the birds. Also, there is movement between the colours – a jump from a white stripe to a grey one. Almost opposites.
Dasha: I like to combine opposites because it shows the underlying idea that there is nothing absolutely good or absolutely bad in life. Rather, life is everything. I like to think of the Buddhist philosophies, the Yin and Yang. There’s always some black and white in life – the two sides of one.
Usually, I will capture natural movements, like fabric moving in the wind, or hair in the wind. I also like to use a lot of empty spaces. In photography, this is called negative space. It has become one of the main characters in my work. If there is no empty space, the image will lose focus. Empty spaces help you concentrate on the main subject. It is as important as the subject itself.
‘Only whales know’, 2022.
The process of producing the pieces in itself requires some kind of ‘empty space’ – when I create my images, I go through stages. Sometimes I would start with drawing a sketch, and then it can stay there in my sketchbook for months. And then finally, there comes a point where I have everything I need to shoot. I shoot the work, and then there could be another couple of months until I process the image, edit it, and feel that it is ready.
It can be inconvenient to work through such long periods, but then it also allows me to be three different ‘people’ at work. The first one draws a sketch, and then the second one takes the images. The third one combines everything on the computer, editing and producing the final piece. So those gaps, the negative spaces in time, are important for the development of the work.
‘Rise’, 2023.
Gil: …The ‘silence’ between notes in music we play; the gaps between words we speak.
Dasha: Yes; that adds beauty to our world.
‘Don’t fear the rain’, 2022.
Gil: Your photos are surreal, and therefore, they do not convey a specific, defined place or culture.
Dasha: I don’t want to limit my work to any specific culture. I’m trying to blend whatever I can get from the world. I consider myself to be a citizen of the world (although I have not seen everything yet). I feel that there is a lot to learn from every culture and it’s in unity that we become stronger. The power is in unity.
‘Taped’, 2020.
Gil: I think that most of your works incorporate the human body. Is there any relation between your body as the photographer taking the photo, and the body of your models that are photographed?
Dasha: Maybe… I’ve never thought about it. Thank you for drawing my attention to this point…
Gil: You, as the photographer, are also the subject of the ‘process of the art’, so to speak.
Dasha: Yes, that’s true. I think that all my works are self-portrait, but with different faces…
By the way, I do not define myself as a photographer, because there is a good editing part that takes some 50% of the process. I usually define myself as a visual artist who uses photography as the main medium. I connect to you via photography, by capturing inner realities.
‘Background’, 2023.
Gil: You mentioned that light is the soul of the photograph. Is it also the soul of reality ‘outside’ the photos? Do you focus and engage with light outside photography?
Dasha: That’s an amazing question. It’s like you read my mind. Light defines a lot in my work, and also affects my life. For a long time, I was reluctant to admit it to myself. Now, I admit that I’m very much influenced by light. I cannot tolerate luminescent blue light, which is coming from the ceiling. I never have it in my apartment. In the evenings I would turn on something close to maroon light. I would like to wake up with the sun, and go to sleep when the sun sets.
‘Walking In the Sky’, 2022.
Gil: How do you choose the locations?
Dasha: Usually, a location would inspire me visually. I am drawn to spaces that are interesting to look at, but not very busy. I might personally enjoy being in spaces with a lot of architectural details, but it’s hard to create the right atmosphere for them in my work. Simplicity in the environment allows the subject to stand out and to carry the emotions to the viewer.
‘Between the lines’, 2022.
Gil: What do you think about Artificial Intelligence tools that create realistic images?
Dasha: I see that people are creating beautiful things with AI. When I first tested AI tools, I found that I had difficulty in verbalising what I wanted to achieve. I am visual. When I dream, I know exactly what I see. When I try to describe it to someone, it’s just not possible to put in words. Even when I find words, they describe maybe 25% of what I experienced. To get an accurate image from AI, you need to be verbal, and very detailed in your explanation prompt. Some artists say that the prompt takes a while, and that the prompt itself is the new art form.
I recently became aware that there is a lot of thinking going on in our heads that is not completely verbal. Nonverbal thinking.
There are some things that we don’t have words for. And then we tend to think that they don’t exist, which is not true. Before we discovered electricity, for example, we didn’t have a word for it, but electricity was still out there. Likewise, we have emotions and inner feelings that are strong and real, but we don’t always have the words to describe them. This is why I try to bring them out in my art, making them visible so we can see and better connect to them.
At a Glance:
Art = Stillness → Intuition (Emotions, Subconscious) + Realism.
Art arises in moments of stillness. Guided by intuitive emotions, it links and mirrors the subconscious world and the external world.
© Journal of Creativity and Inspiration.
Images/art © the artist.
Dasha Pears is a visual artist based in Helsinki, Finland. She uses photography as her main medium. Dasha defines her style as ‘psychorealism’ – an art form that externalises internal emotions, making them ‘tangible’. Her works visualise psychological matters that may seem unpretty, making them aesthetically appealing. This can help the viewers come to peace with themselves and with emotions that are sometimes not easy to hold.
Gil Dekel is a doctor in Art, Design and Media, specialising in processes of creativity and inspiration. He is a lecturer, designer, visionary artist, Reiki Master/Teacher, and co-author of the ‘Energy Book’. He was awarded the Queen Elizabeth II Platinum Jubilee Coin, in recognition of his dedication and commitment to pastoral work in the UK.
