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“I feel like everyone is a hooker! We’re all working for money or something.”
Natalia Fabia is shedding some light on prostitution. Usually, when a journalist asks someone to explain their dealings with hookers, mug shots are brandished and rap sheets discussed. But Fabia, a rising star in the lowbrow art scene, explains the word’s innocence: “I always call my close and special girl friends hookers” noting that the term of skanky endearment has seeped its way into her photorealistic oil paintings of lusty women in repose.
Petite, with bleach blond hair streaked with hot pink tufts, the L.A.-based painter is easy to spot in a crowded gallery. Her scarlet lipstick, intricate tattoos, layers of jangling jewelry, and cluster of nervous fans easily identify her as an icon of the L.A. art scene. Her work is equally conspicuous: in a sea of superflat illustrations, her large scale oils rely on the lush shadow work and delicate highlights of Baroque portraiture—but rather than depicting European noblemen or stoic barons, her subjects are her beloved “hookers,” usually swathed in fishnets and tattoos occupying settings as diverse as an African savanna and a toilet.
Her growing reputation has collectors snatching up work, and detractors wondering why, as a young woman, she objectifies her own kind.
We posed some questions to Fabia as she wrapped up preparations for her upcoming Corey Helford Gallery solo show “Hooker DreamEscapes.” Her latest body of work is indeed rife with nubile women languidly enjoying cotton candy landscapes. One subject cradles a stuffed unicorn, exposing an inch of peekaboo buttcrack while another woman spills lusciously out of a blouse. They look like, you know, hookers.
Did you grow up in Los Angeles?
I grew up in the Valley, actually. I am a Polish Valley girl. My parents were both very artistic, and I’ve been drawing ever since I can remember. I always knew that that was what I wanted to do.
How did your surroundings influence your interest in visual arts?
Being in L.A., I was very into punk rock shows. Music and fashion started to become a huge part of my life in junior high. NOFX, Rancid, Dropkick Murphys and Swinging Utters are some of the bands I would go see and I think that strongly influenced my subject matter. Getting dressed up was so much fun: making ghetto stencils and spray painting clothes. I was always very outgoing with my clothing and hair color.
Are these "hookers" evolving with the fashion that you yourself are wearing?
I never thought about that too much, but it totally makes sense. My style evolves, and my paintings are directly affected by that. I did a series of portraits of my punk rock friends wearing a lot of torn up, revamped and vintage clothes. That's what I was into, and that's what I wanted to paint. Then I was always painting girls in lingerie and underwear; that totally makes sense because I was really into burlesque and rockabilly then.
Is the hooker theme playful, or does it reference the darker issue of women as commodities?
Oh gosh, I can't remember exactly when I started calling women "hookers." It definitely started out as a playful pet name. I just loved the way it sounded—kind of shocking. One of the definitions I found for hooker that I really love is: “someone who’s selling their ability and talent for money." It says nothing about sex. We are all hookers then, especially artists!
How did you start out in the L.A. art scene? Group shows like Cannibal Flower and Project:?
Exactly, I was showing a lot at Cannibal Flower and Project: and had a solo at Thinkspace. Through support from friends and teachers from [Pasadena’s] Art Center, I just kept painting and shoving my work in people's faces. I only concentrated on painting and showing my work. I never thought about failing; I just wanted to get better.
Do you find—in an art climate influenced by illustration and Superflat visuals—that your painterly oils stood out?
The way I paint was never intentional, it really just happened. Big old painterly oil paintings have always been the type of art I was drawn to. I know many traditional oil painters that are amazing! I guess it isn't as popular though.
Do you ever feel that patrons are drawn to you as a brand or personality as much as for your artwork?
I’m not sure. Sometimes people may be drawn to the idea of someone's personality before they really know that artist's work. It used to be hard for me to separate myself from my work. Either way, as long as people see my work and feel something, I am happy—however they initially get to it.
Are you compelled to paint women for their narratives or the aesthetic of the feminine form?
There is nothing more beautiful than the female form to me. I am definitely drawn to explore their hidden narratives, but I also because of the aesthetic. I feel like both elements compliment each other. Women are so soft and sexy, [but] they can be vulnerable, dangerous, fun and scary. Of course, men can be all of these things too, but women are just nicer to look at. Sorry, that's just how it is!
What is your process for starting a painting?
The idea for a painting is always in my head, whether it’s the theme, model or surroundings. I usually do a rough sketch in case I forget the idea. I figure out who I want as the model and then I plan a photo shoot. I dress and style the models, sometimes making clothing for them to wear. Then I paint from the photos.
How do you find your models?
I have a few models I constantly paint, my muses. Sometimes, I see someone that has an interesting style or look at a bar somewhere, and I just ask if they'd be interested. Hopefully, they aren't freaked out, and we exchange info. I get a lot of ladies’ numbers. (Laughs.)
Check out a sneak peak of some images from the show»
Alie Ward is Events hooker for Metromix Los Angeles.
