The Making of Psychomachia

In the quaint beach town of Byblos, Lebanon, Kristel was raised amidst hues of artistic inclination instilled by her father, a painter and sculptor who encouraged her to follow her calling. Heeding her genetic and nurtured instinct, she drew and painted all the time as a child and instinctively chose graphic design as her major, although it wasn’t a popular vocation at the time. On graduation, she worked as an in-house designer for seven years, but soon, she was restless to return to her exploration of traditional, individual art, where her signature voice murmured waiting to be discovered.

In relentless pursuit, Kristel let herself awash in color and technique. No medium, no color, no prevalent style was left untouched. Oil paints, watercolor, acrylic; she dabbled in each one. Her experience as a designer got her acquainted with artwork software and programs that surprisingly broadened her perspective even in traditional arts. Her inherent knowledge leaned on the skills and lessons she acquired, and her innate voice grew bolder, more distinct with each attempt.

Despite possessing what many may call an inborn talent, Kristel is convinced of the importance of critical training for an artist. Her four-year course imparted skills that have indubitably shaped her flair and technique. Kristel recalls that the first two years of university were intensely creative with a flurry of studies around drawing, painting, and even photography. She made time to take additional courses such as oil painting, which she couldn’t learn independently and needed some help with. The extensive work experience endowed her with technical expertise, rounding up her already impressive skill set.

Asked to label her style, and she dismisses it with a laugh. “I call it eclectic because I like the word,” she admits with a chuckle. Her art is a truce between clashing ideas, simple yet complex, black and white yet violently colorful. She revels in the use of traditional motifs, landscape, flowers, and patterns, but there’s an undeniable modern touch too, with contemporary figures, the distinct abstract design, and shadowy depiction of human torment. Boxing her style up into one category isn’t  terribly important to her. Contemporary or traditional, she views it as a blend that’s uniquely her.