Nata Metlukh has reconnected with the physical world, and we should all be happy about it

“Last year, I printed a zine titled I Didn’t Know I Was Tall,” Nata says, recalling a recent embodiment of her refreshed creative approach, culminating in a collection of drawings. “They capture everyday moments in Hiroshima through the eyes of a foreigner,” she says, having spent six months in the city as an artist-in-residence, “this zine was a reflection of my time there,” depicting landscapes, scenes and characters. Similarly, Nata’s Riso-printed zine Joshua Tree details landscapes in an altogether more abstract fashion – “a theme I’m currently passionate about,” she says – as well as approaching conventional narratives in an equally alternative way.

“While I’m not deeply drawn to storytelling,” Nata adds, “I find immense joy in the visual aspects of my work,” noting the interplay of colour, textures, and movement. “For me, stories take a backseat to these visual elements,” allowing the viewer to interpret it in whichever way works for them. “My drawings and short looped animations serve as testing grounds for larger projects,” she continues, “and animation, with its intricate workflow, remains most efficient in digital form.” However, albeit efficient, it’s no longer Nata’s go-to. “I’ve always loved the unique look of drawings on paper,” Nata details, “and in my work, I’ve been trying to recreate that tactile aesthetic digitally.” Now, Nata considers her reimagined approach as a “translation” as her visual language shifts depending on the medium. “A single object rendered in pencils, markers, or digitally,” Nata ends, “feels like the same thought expressed in different languages.”