Tania LaCaria

Through an Abstract Expressionist aesthetic, Italian-Canadian artist Tania LaCaria (b. 1985) explores the concept of paradox and how conflicting realities can exist at the exact same time while focusing on themes based in gender, sexuality, social structure/class systems, body politics, love and relationships. In our interview we talked with Tania about her passion for abstraction, sharing the narrative of a piece with the viewer through writing, and the gift of starting over in your midthirties.

Hello Tania, for people who are not familiar with you and your work, please present yourself shortly and tell us how you got into art in the first place.

My name is Tania LaCaria, I’m an emerging abstract artist from Ontario, Canada. I have always been a creative person and loved painting. My high school art teacher even created an art class just for me because I had exhausted all the art classes available to me and just wanted to continue creating. She inspired me to pursue a fine arts degree, which I did, and then somehow, life got in the way. I went back to school for interior design in order to start my own design consultation firm and ended up taking a 16 year break from making art while I focused on traveling the world and building my interior design business.

In 2021, I returned to canvas-based works and built a home studio to make art a part of my everyday life. I started to paint again, officially and consistently, after I divorced. For me, it took a major life change to remind me that I had cast aside parts of myself that used to be important to me because I had prioritized other people and projects in my life. I had the opportunity to start over in my mid-thirties. At first this was daunting, but I also recognized the opportunity to start over as a major gift. I knew art had to be a serious part of my new life, and I have been painting professionally ever since.

You explore the concept of paradox and how conflicting realities can exist at the exact same time. What interests you about the concept of paradox?

I am fascinated by paradox – it’s a reminder to me that life is not black and white, there’s a lot of grey area. In the past, I had the tendency to see things as finite: right vs. wrong, good vs. bad, love vs. hate, success vs. failure. It’s a very limiting way to live and doesn’t provide much opportunity for excitement or humanity. As I’ve developed a stronger understanding of my creativity and spirituality, I’ve been thriving in the grey area. the big chapters.

For example, I’ve been thinking about how there’s no such thing as failure…which means there must be no such thing as success. What if every perceived failure or success is just a life experience and it’s a matter of perspective that identifies an occurrence as positive or negative? I’m sure readers can think of a personal situation in which a perceived failure felt shameful or disappointing, but ultimately led to a new opportunity that spurred a success. That feeling, that there can be joy as a result of pain, is the type of paradox I like to explore in my work.

You focus on themes such as gender, sexuality, social structure/class systems, body politics, and love & relationships. Why have you chosen to focus on these themes?

I believe these themes are important topics that are relevant to everyone in everyday life. My art is about me and my life, but it’s also a way for me to connect to others by presenting the idea that while we’re all unique individuals with our own stories, there is a lot of overlap in our experiences. My art has allowed me to share parts of myself that I used to keep hidden. By allowing viewers to see parts of me for who I am, I am hoping to give others permission to recognize the parts of themselves that they thought should be hidden as well. A lot of my work is presented through the theme of love & relationships because I believe it is the primary theme that connects us all. We experience our own gender, sexuality, social standing and body politics through the relationships we have with ourselves, but also through the relationships we have with others.

When it comes to my art, high contrast interests me because it mimics my life: the ups and downs, the two extremes, but also, the many strokes, markings and colours in between the big gestures that draw a connection between the two ends of the spectrum. I believe that all life occurrences and relationships are somehow connected, even if the connections are not noticeable at first, the connections come into focus in hindsight – a beautiful reminder to go with the flow in the moment while things crystalize before clarity sets in. Recognizing and exploring how paradox plays a role in my life has allowed me to see the beauty that exists in the space in between

Misogyny is often disguised as love, which is why it’s so easy to accept oppression, because it is presented as being for the recipient’s benefit. I am navigating this world from my own unique perspective and experience, but I feel so grateful that my experiences as a woman, both “good” and “not so good” have been shared by other women. These themes allow me to connect with others, which brings me hope. I have found peace in knowing that I am not alone in my challenging or beautiful experiences as a woman, and I want to share that with anyone who wants to listen.

What fascinates you about abstraction and if there has ever been a time when you considered working figuratively?

When I first began my artistic career, I was a figurative painter. I often found myself wondering “what should I paint?” and that became an exhausting question. Throughout art school I would build paintings around collections that were rooted in women’s issues and how the patriarchy has set up the entire population for oppression for its own benefit. When I decided to get back into art in a serious way, I began by drawing. Getting back into being a creative after taking such a long break is not like riding a bicycle – it’s like going to the gym after a serious injury. The creativity does not flow easily, ideas feel disjointed and awkward. The drawings were a good start, but one day I decided to pour Indian Ink on a piece of paper for the fun of it. The more I tried to manipulate the paper to create a desired outcome, the less control I had over the outcome…and somehow, this process became intoxicating. Coming out of covid, having been extremely burned out (physically and emotionally) by the business I was running at the time, and after such a painful ending of my marriage, I was eager for an outlet that afforded me some freedom in a way that felt bold and exciting.

Abstract Expressionism is a language to me. People who resonate with my art speak that language. They can feel my work. Abstract work doesn’t need to be understood, it needs to be felt. I learned that I’m attached to the *experience* of creating a painting. I have no attachment to the final outcome. The expressive process calls on my entire body. Abstract art allows me to fully live in the moment of pure expression and intuition, and I can just run with whatever my heart and body need to communicate at the time. Now, I never have to ask myself “what should I paint?” because it doesn’t matter, all that matters is that I am actually painting. All I have to do is show up.

When looking at your paintings on your website, every painting has its own description. Is it important for you to get a certain message across to the viewer with these descriptions?

Yes, I want viewers to know the story that I am telling with each piece. I use my art as a way to connect with other people and find the descriptions of my paintings have made this process easier. I used to struggle with the idea of sharing the meaning or inspiration behind a painting – thinking that the painting can just stand on its own without needing a description, but I have decided that the narrative is very much a part of the creative process for me, and I can’t deny that. My art is a way for me to share my thoughts, beliefs and feelings with others in order to form connections.

In the past, viewers have been drawn to the visuals of my work, but then reading about the painting helps them form a deeper connection to the work, which means in some way they have formed a connection to me as an artist and as a person. My painting descriptions have sparked conversation –not always positive – but conversation nonetheless, and that is important to me.

Any upcoming project that you’d like to talk about?

I recently had the amazing opportunity to work in 3D. I created an 8 foot x 6 foot tall light-based sculpture for a winter festival and it was so freeing to be able to work in a new format. I had a great team that pushed me to think outside of my comfort zone, and I grew so much as an artist. Now, I am unable to think exclusively in 2D work, and I love how wild that is to consider. The new format literally changed my brain and how I think about expression. The entire experience was an incredible opportunity for growth, a real gift.

I have a new collection that I am working on that is combining abstraction with figurative work and also involves a strong component of sculpture. I’m exploring the experience I have had as a single woman in my mid-30s who is childless by choice, and how my sense of value as a woman who has not chosen to reproduce has been viewed by society, especially in the dating world. I am ready to push myself even further this year and bring up some topics that make some people uncomfortable and present these ideas in a collection that stimulates all the senses – it will be more than just a collection of paintings.

I’m excited and feel nervous at the same time, which is exactly the type of feelings I get when I know a project is worth pursuing. The paradox of knowing what I need to do vs. having little direction on how to actually do it keeps me inspired. I am looking for the perfect space to present this collection in www.tanialacariastudio.com

2024. A space that celebrates women and sexuality, doesn’t shy away from gender issues and is large enough to accommodate various media. The entire collection is such a departure from my painting work. I am bursting with excitement and trying to stay focused so that I can allow the joy I feel about pursuing this project overcome the self-doubt that comes with trying something new.

And last question, is there any advice that you’d like to share with fellow emerging artists, especially those at the very start of their career?

I am hardly in the position to be giving advice as an emerging artist myself, but I think it’s good advice to encourage anyone, emerging artist or not, to take risks. I would encourage anyone to invest in themselves, to start the project you’ve been putting off, to change careers if it feels right – no matter your age or stage in life – to take the chance on changing your life for the better.

I spent a lot of my life living by the rules, and it served me well for the most part. But not living by the “rules” has been wildly exciting and invigorating, and I have experienced so much joy as a result. I think taking risks is seen as reckless, because it’s always safer to play it small. But if you have any inclination to dream bigger, to seek more love, more joy, more happiness, more adventure…I would encourage new artists to do exactly that, in whatever way feels best. Seek more. Playing it safe is more likely to lead to regret than trying something new will, and I don’t think anyone has time for regrets.

Instagram: @tanialacaria visually communicate my conflicting emotions through juxtaposing shapes and colours in

Just Forget It,

Love Letters (To My Exes)(up)

Love Letters (To My

I would encourage anyone to invest in themselves, to start the project you’ve been putting off, to change careers if it feels right – no matter your age or stage in life – to take the chance on changing your life for the better.

- Tania LaCaria