Riding the lion

The painting is about the feminine energy that creates. In Europe, creative energy and fire are often associated with male gods, such as Helios, the god of the sun; Hephaestus, the god of craftsmanship and fire; and Apollo, the god of the sun and writing. In a weakened position as a woman who gives birth to and raises children, it is a challenge to remain a creator—a creator by her own will. Women possess enormous creative power and express it in many ways.

In modern society, we have many more opportunities to follow our own path as creators—thanks to shared responsibilities within the family, a life without family, or after our children have left home. This painting is a tribute to this inner fire, to the power we have over our lives, and to how we use our time and energy to create. The lion, as a masculine principle, is included—they are not separate. I like the idea of tantric unity between masculine and feminine forces. However, here, only the feminine is elevated to the level of the masculine.

The painting resembles a kind of tapestry, inspired by a visit to the State Museum, where I saw Persian carpets. The blue background creates a spatial atmosphere, like a screen on which ornamented figures are spewing fire.

At the center is the goddess herself, riding a lion, symbolizing the control she has over her creativity. I think the connection to the theme of "fact" lies more with the audience than within the painting itself. In my opinion, a painting should not be didactic or forcefully impose a theme. What we actually associate with an image and how we connect with it is what matters. That "aha" moment when a painting touches us. Whether that is a fact or an illusion, we do not know—because everything is perception and interpretation.