I know what you’re thinking. The word geometry doesn’t sound very artistic, does it? It conjures up old memories of math class where creativity is null and void. Geometry is the place of rigid squares, cold numbers and emotionless triangles. Lines and angles lead the way as measurements are made with academic vigor to discover the one and only solution. Paola Charnet however, is changing what it means to explore the world of geometry as she offers a new perspective of how technology of the modern world can intermingle with traditions past down through the ages. Here, these cold shapes take on a new form, one that is baked in the love of the arts, as she explores the geometry of emotion.
Descending from French and Spanish roots, Paola Charnet is a fine artist who specialises in figurative oil painting. Her work explores two opposing aspects of her life, her admiration for art and cultural heritage and the analytical knowledge gained during her studies in Business Administration. Highly influenced by her grandmother Cachi Soler, a Spanish painter and sculptor, Paola has developed a style that captures emotions and allows for experimentation with a twist as she frames her muses in a tangle of geometric shapes. Currently, Paola resides in Barcelona where she continues to explore her unique fusion of past and present. She is represented by 33 Contemporary Gallery and PoetsArtists.
As artists, we often work in solitude, immersed in creation. But true fulfillment comes when a piece moves beyond the studio and becomes part of someone else’s world.
Interview with Paola Charnet
Your passion for figurative painting has fused with knowledge obtained from your Business Administration degree. I’d love to hear more about how you’ve fused your creativity and cultural heritage with your analytical knowledge and how your exploration of this fusion has evolved over time.
Painting has been a constant in my life. I grew up surrounded by my grandmother’s passion for art; she was a painter and sculptor and she started her career in the 1950s, a time when it was challenging for women to pursue fine arts. Her dedication left a profound mark on me, and her legacy became the foundation of my own artistic journey.
While my path initially led me to study Business Administration and work in the tech industry, those experiences have merged with the way I approach art. They’ve provided me with tools to bring structure and organization to my creative process, especially when managing the logistics and administrative aspects of being an artist. Regarding my tech background, I’m fascinated by digital tools, 3D modelling, and how technology can expand the ways we create and experience art.
However, no matter how much my life has changed, painting has remained a constant, not just as a form of expression but as something instinctive, almost physiological. It’s how I perceive and express the world around me and the one thing that has always made sense to me.
You describe yourself as painting “the geometry of emotion”, do different emotions translate into certain shapes or is it more free flowing?
The relationship between emotions and shapes in my work is both intentional and intuitive. When I started painting geometry to represent emotions about six years ago, the geometry I painted was much more explicit.
Over time, my work has evolved toward more fluid and organic geometry. Now, I often blend these geometric forms with their surroundings, weaving them into the hair of the women I paint, and even merging them into their bodies. I feel like I am diving deeper and deeper into the spectrum of possibilities and the wide range of emotions they offer, allowing that exploration to guide the shapes and forms I create.
Certain emotions naturally align with specific geometric forms. For instance, triangles often represent tension or transformation, while circles evoke continuity and harmony. However, the process is rarely rigid. It’s more of a dialogue where the emotion guides the form, and the form refines the emotion. This interplay creates compositions that might feel structured yet organic, mirroring the complexity of human experiences.
Who are the subjects you paint?
Women are most of the time at the heart of my work. Painting them is an exploration that goes beyond technique or form, it’s about gaining deeper insight not only into the women I portray but also into the relationships I have with the women in my life.
What begins as a specific intention often shifts unexpectedly as I work. There’s a moment when the painting takes on a life of its own, pushing me in directions I hadn’t anticipated. This uncertainty becomes an essential part of the process, creating a tension between what I thought the painting would be and what it ends up becoming. It’s a constant negotiation, sometimes I need to make bold decisions, while other times I need to let go, allowing the work to breathe and evolve on its own, revealing its story step by step and challenging me to embrace the unexpected.
Hair plays a big role in your exploration of geometric shapes. Does hair hold a certain meaning within your work?
Hair in my work symbolises the flow and interconnectedness of emotions. I initially started using hair because it felt like one of the most free-flowing and unique physical attributes of an individual that is not determined by our core anatomy. Hair is also one of the closest elements of our body to our minds, and in my early works, it became a visual representation of our neural connections, full of branches, colours, shapes, and interwoven stories.
It was a way to bring to life what each character was feeling and thinking, revealing their narrative to the viewer. As my work has evolved, so has this concept. Emotions are not confined to our minds; they extend to our bodies and even to our surroundings. Hair, therefore, remains a key element, but it now serves as a bridge between the inner and outer worlds, blending geometric patterns into the body and beyond.
‘Beyond the Pearl’ is a painting of yours that really stands out to me since it references Vermeer’s ‘Girl With a Pearl Earring’. Why did you decide to reimagine this work?
This is a piece that draws on my deep fascination with history and time, and how these elements are interconnected. Vermeer’s ‘Girl with a Pearl Earring’ has always captivated me with its intimate portrayal of emotion.
In reimagining this work, I wanted to bring a historical piece into our contemporary context, reflecting Baudelaire’s idea of beauty where it has two sides; one eternal and unchanging and the other which is relative and defined by the circumstances of our time.
In this reimagining, the pearl becomes the connection with that past, while the geometric representation of these emotions acts as a bridge, reflecting the complexity of human experience across time. It’s a dialogue with history, an attempt to understand the past and project its resonance into our present.
What do you find to be the most challenging aspect of your work?
The greatest challenge lies in balancing the demands of commissions and exhibitions with the need for creative exploration, ongoing study, and artistic evolution, work that follows no set path or deadline. While structured projects require precision and focus, there is an equally vital pull toward experimentation, embracing uncertainty, and pushing the boundaries of my practice.
As artists, I believe we are perpetual students, not only in continually refining our technique but in engaging with art history and, just as crucially, absorbing the present, gathering stories and experiences that will later find their way onto the canvas. Navigating between discipline and discovery is never easy, it is within this balance that my work continues to evolve.
What’s the most rewarding aspect of your work?
The most rewarding aspect of my work is the connection I experience when my pieces resonate with collectors and find their place in someone’s life. I remember the moments when I’ve had direct contact, whether it’s an initial reaction or feedback received weeks or months later.
As artists, we often work in solitude, immersed in creation. But true fulfillment comes when a piece moves beyond the studio and becomes part of someone else’s world. Whether it’s through a personal commission or simply hearing how a piece fits into their daily life, those moments of connection are invaluable. It’s a reminder that art isn’t just an object, it’s an ongoing dialogue, a shared experience that evolves over time.
What do you hope people can take away with them after viewing your work?
I hope viewers feel a sense of curiosity and connection. The shapes and forms in my work carry stories, but I leave them open-ended, allowing each person to find their own meaning. Some might uncover fragments of what I’ve embedded, while others may see something entirely different, shaped by their own perspective.
For me, art isn’t about providing answers, it’s about sparking questions. I want the work to feel alive, inviting viewers to explore and engage with it on their own terms. That’s where its universality lies, in its ability to communicate without words, creating a dialogue that’s unique to each person.
When you’re not painting, what do you get up to in your free time?
When I’m not painting, I love to explore other forms of creative expression. From calligraphy to sculpture, small wood projects to bookbinding, I find joy in working with my hands and immersing myself in the process.
Whether I’m surrounded by my loved ones or working alone, these activities allow me to slow down and enjoy the tactile experience of creating. It’s not just about the finished product, but the meditative nature of the work itself. These moments often inspire new ideas and bring fresh perspectives to my painting.
What’s next for you? Any exciting projects you can share with our readers?
Reflecting on the past few months, I’ve experienced a period of intense exploration and growth in my artistic journey. Collaborating with 33 Contemporary and PoetsArtists has been incredibly inspiring, and I’m looking forward to the projects we have in the works for this year.
Beyond that, upcoming exhibitions will push me to keep evolving. Right now, I have more questions than answers, the perfect recipe for diving into new ideas and shaping my next works.
Looking ahead, I’m focusing on projects that foster meaningful collaboration and shared vision. For me, the people behind each initiative are just as important as the work itself. I’m excited to engage in open dialogue and creative exchanges that challenge and inspire me, making it a journey of mutual enrichment and discovery.
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