Artist Interview: Katharina Stenbeck


Born in Stockholm, Sweden, Katharina Stenbeck grew up with an early interest in experimental theatre. She studied at acting conservatories in Stockholm and New York City, subsequently working as an actress, before a chance encounter plunged her into the world of music. Fronting a Brooklyn-based electronic band for several years, she found a platform where she could marry many of her artistic means of expression into one and the same project. Katharina relocated from New York to Los Angeles in 2015. In LA, she began to actively explore her painting, primarily working in acrylic on canvas.

Boob Circle by Katharina Stenbeck

Congrats on being part of the recent LA Art Show! Can you tell me a little about the experience?

Thank you. Like many creatives, I hardly ever stop to take a second to appreciate progress I’m making on my artistic journey. Accomplishments are often achieved on a smaller scale and they blend together with the day-to-day hustle. Having a piece in the LA Art Show this year was one of those moments when I wanted to make sure to acknowledge that I’d achieved a goal I’d set for myself. I was at the LA Art show 2016 and thought “I’d love to have a piece here…”, and this year, I did.

As a multidisciplinary artist, how do you balance the different types of projects you’re working? Do you like to focus on one medium at a time or do you like to switch things up?

My background is in theatre and that informs my other artforms in many ways. My work in music always incorporates theatricality in some way, whether it’s in my lyrics, my song arrangements or my live performances. My visual art can get woven into my other artforms as well, with my paintings and sculptural works often popping up in selfmade music videos and/or as wearable creations for use on stage. In this sense, I don’t necessarily feel that I have to focus on a single artform at a time, but I do try to focus on a single project at a time. Usually, my projects incorporate many of my artforms all under one umbrella. For example, for a music video, I would have written and recorded the music, most likely made the clothes and props for the shoot and would also be the one performing in it.

Hands with Red Thread by Katharina Stenbeck

What’s new on the horizon for 2017?

I do try to stay busy and always prefer to keep momentum going, especially if I’m working on a particular project and know the steps I need to take to complete it. That sense of “completion” can mean many things, it can come in the form of laying the final brush strokes on a painting, adding the last dabs of glue to a papier-mâché sculpture, mastering a finished song or performing something that’s been in rehearsal for several months. This year, I’ll be launching my first solo project in music after many years in a band, and I’m really looking forward to sharing the songs. I’m aiming to have the first single and accompanying music video out this spring.

Dalecarlia by Katharina Stenbeck

I’ve been enjoying your Creamy Humans and Animal Hybrids series. Do you plan to continue any of the series? What new series will you be working on?

Thank you. Their origin stories are interesting to me, I had been painting animals for quite some time and then found myself drawn to the idea of painting animal heads with human bodies. That was my first step toward painting humans. After having painted several animal human hybrid pieces, I felt it was time to explore what a “normal” human might look like, with his/her own head attached to the body. It felt scary at first, I wasn’t sure what my own artistic interpretation of a face would look like. A face can be rather intimidating to take on as an artist. Someone once said “The face is the mirror of the mind”, and there’s a lot of truth in that. I had sketched and doodled so many faces throughout the years, but I found that they were often emulating faces I had seen in comic books, famous paintings or magazine illustrations. I think that’s why I chose to make my faces so simple, linear and flat when I finally started painting “real” humans. My painting style in general has lately been exploring the folk art aspect of linearity and flatness, so it was a good fit. In some ways, I think my Creamy Humans series are all self portraits, too.
Regarding my next series, I’ve found myself drawn to trying out some more abstract motifs, with paintings incorporating only aspects of the human body such as hands and feet and ears, letting the body parts interact with each other as well as with shapes and colors across the canvas.


In 2017, Katharina will be launching her first solo project in music. Find more about her and her work at

Artist Interview: Angela Song

Daily Drawing Series – Fuel for Adventure

Angela Song is a storyteller and professional illustrator based in Los Angeles. She works on several projects – children’s books, webcomics, and her Daily Drawings & Illustrations – all with the purpose of sharing her stories with the world and making people laugh and smile every day.


I’m impressed with how prolific you are with your Daily Drawings. How do you stay so disciplined?

Over these last 5 years I developed a few “rules” that work for me, which are:

  1. Don’t play the catch up game. What I’ve learned from my early attempts is that this rule is a big deal. If you miss a day you feel guilty, and if you let it add up it just becomes painful, and the project ends up feeling like a chore instead of something creative and fun.
  2. Don’t let the Daily Drawing interfere with my life. I decided I would post whenever it was convenient, or plan ahead and get it done early if I knew that I would be out late or something.
  3. The day doesn’t end until I go to bed. That way I don’t worry about turning into a pumpkin at midnight and missing the day.
  4. Be consistent in style…if you want (aka: be flexible!). This one I’m still struggling with as it’s a new one for me! I only broke away from my pen and grey marker look for watercolors last year, and before that it was a year of sitting on the fence about whether I should change or not. I’m determined to have all my dailies tell a story, but now I’m letting myself tell it however I want, whether it be one panel or two, in greyscale or color.
  5. The most important rule: For why do you do this? You have to have a goal that keeps you going. Novelty will wear off very quickly. I’m fortunate as my personal goal doesn’t have an ending. For me the one thought that has never faded is, “What story do I want to tell today?”



Daily Drawing Series – The Definition of Frustration

What would be your advice to artists who are contemplating Patreon?

Patreon is a fairly new beast for me! I knew about it for years but only started out myself last year, so I’m still learning the ropes myself. The first thing I will mention is: it’s free to create a page on Patreon. The second important thing is: be sure to mention on your front page that your patron can cancel their subscription at any time.

Because my focus is on storytelling, I’m planning my Patreon be more of a long term project. I’m working on several stories that will have lots of exclusive content in the Backstage Blog and will constantly be upgrading my reward tiers which I hope will draw more people in! You have to show that you’re serious about your work so people can seriously support you!


Tell me about the process of putting together a book by hand. How did you learn bookbinding?

I was first introduced to bookbinding by my printmaking teacher in college. She had a book she had put together herself and I was instantly fascinated by it and ended up on Google and YouTube looking up any and all tutorials I could find. The one I was most attracted to was the Coptic Stitch binding since the books would lie flat and not damage the spine, and the binding looked awesome! When I first started, I made a couple sketchbooks for myself. But I really applied it to my first Daily Drawing book out of financial necessity. I couldn’t afford to print the books in bulk anywhere so I decided to make them myself.

I really have to be a one woman army when I put a book together, as I do my layouts in Photoshop, do test prints, if they require a hard cover I have to print out both sides to glue over backing boards, cut them, assemble the signatures in correct order, bore the holes through the board/papers for the thread, sew them together, trim the edges, sign them, take photos, create a listing, advertise, and then have a drink.

If you choose to use Coptic stitch, I recommend that you create a little physical template to number each page as it can get confusing which image or text would go on which side of the paper as the book is put together in signatures. It’s a time-consuming process, and sometimes a bit frustrating (I love how the hardcovers turn out but I always dread assembling them!), but I find stitching the binding to be meditative and the end result to be stunning, so for me it’s always worth it.


What 2017 project are you most excited about?

I’m the most excited to work on my storytelling projects – whether it’s another children’s book or one of my webcomic stories. I have so many ideas in my head, and several I’ve been sitting on for several years! 2016 had been a year of discovery for what I really want to do with my work, and the year where a lot of things clicked together for me creatively, so at the moment I’m just trying to calm myself down from excitement and decide which story I want to work on first. It’s a crazy world we live in right now, so I’m hoping my stories can, at the very least, bring a chuckle and a smile to the people who read them.


Connect with Angela online at her official website and check out her Patreon page. You’ll be able to find Angela at Wondercon 2017, so look for her in the Small Press section.