Linking Lives Exhibition: Interview with the Artist. Katya Quel.
After being part of Linking Lives exhibition, curated by Irene Sánchez Gómez, Katya Quel reflects on her art in an interview with Myriam Martínez Gómez.
After participating in the Linking Lives exhibition, curated by Irene Sánchez Gómez, artist Katya Quel shares her thoughts in an interview with Myriam Martínez Gómez.
“I’m a multimedia and multidisciplinary artist and curator,” says Katya. Her artistic world is inspired by post-RPG gaming fantasy, post-graffiti symbols, and multimedia materials. Through dreamlike narratives, she explores philosophical questions about modern dogmas and romantic fables. Her work bridges underground and pop culture, nature and technology, words and visuals, and the conceptual with the handcrafted.
“I grew up reading fantasy and science fiction. My dreams are still filled with trolls, gnomes, and spaceship journeys, which influence my visual work. It also reflects my sense of alienation from society.”
“Staying curious and enthusiastic helps keep childhood alive in your soul. I think that energy still shows in my eyes.”
“I studied graphic design, and I constantly balance between creating beauty from chaos and vice versa. My style embraces contrast, eclecticism, and metaphor—merging critical awareness of reality with dreamy, pastel aesthetics.”
Katya’s work at BARDO captivated visitors, inviting them to explore and interact with her intricate pieces. The Linking Lives exhibition featured CHATEAU GOSSIP & CHATTER and PORTRAITS OF EFFIGIES ON PIKES:
– Soft, feminine brushstrokes juxtaposed with industrial, production-driven imagery.
– Designs inspired by pagan beliefs, rituals, and spiritual figures.
Katya’s goal is to craft fairy-tale worlds and unconventional creatures that challenge traditional artistic norms and redefine artistic identity within subculture.
Her inspirations include “powerful women who built their own aesthetic worlds—artists, fashion designers, filmmakers, and musicians across history—as well as those who stand out for their strength and principles.”
“I prefer structured projects over spontaneous, emotional art like abstract art therapy. I’m a Virgo—I thrive on planning, structuring, and executing complex ideas. I map out production schedules, create sketches, and then bring them to life.”
“Over time, I’ve developed a clear vision of my goals, and my final works closely match my original ideas. That wasn’t always the case; I used to struggle with execution, leading to disappointment and self-doubt.”
“Gallerists often admire my work but hesitate because it’s not commercial. So I focus on my vision and wait for the right opportunity.”
As a woman, the art world is “a constant battle. In group exhibitions or collaborations, when straight men see my confidence, they try to dominate me with their egos. That’s why I prefer to curate and run my own nomadic gallery projects.”
“I believe in working with what you have. Learn skills yourself so you don’t have to hire others. YouTube is a great teacher. If you’re smart, you can complete any project independently.”
“In 2020, I interviewed for Grimm’s Museum. The director said I’m very direct, unlike most artists. I think it’s a cultural difference—Germans often hide problems behind complex concepts. I reject that hypocrisy.”
“I create art to share my worldview. But I also use social media, my body, and my appearance as artistic tools. My Instagram and other platforms are my personal museums, and my stories are my temporary exhibitions. I don’t care if people criticize my style or my frequent posts. I capture everyday absurdity, internet humor, and playful self-expression. Don’t ask me why I do it.”
“I don’t consider my art political. It’s philosophical, critical, observant—maybe even anti-capitalist. But I don’t engage in political activism.”
Katya’s work reflects her passion for internet culture, fashion, and philosophy, while rejecting institutionalized power and ingrained belief systems.
Her performance piece reinterpreted the iconostasis and its rituals, challenging the patriarchal dominance and eternal authority of the Christian Orthodox Church. Her book, AT THE ICONOSTASIS OF HYPOCRISY, envisions a post-capitalist dystopia where nature reclaims control and BARDO becomes a space for redemption. Performing at Projektraum for the first time, she expressed joy that it aligns with her values.
Looking ahead, she says, “I want to build a larger community. I dream of creating an institution that supports young artists with workshops, studios, exhibition spaces, and events. Something like BARDO, but bigger and outside Berlin.”
“When I arrived in Berlin in 2016, it was vibrant, affordable, and full of hope. Now, I’m ready to leave. The city has changed, though a few kindred spirits remain. We all dream of moving on.”
“If things go well, I also want to start a recycled fashion brand and open a store in my multidisciplinary art center.”
Myriam Martínez Gómez
