Elena Øhlander, Multidisciplinary Artist that Explores Identity, Individuality, Gender Issues and Social Justice

Elena Øhlander renowned muralist, working in the medium of mixed-media illustration

Visual artist and muralist Elena Øhlander uses mixed-media illustration as her medium to hold a mirror to society, essentially leaving it up to the audience to decide what is good or wrong. In 2014, she graduated from The Art Institute of Jacksonville with a BFA in photography. Her career as a visual artist, art advocate, curator, and collaborator with non-profits and city municipalities, promoting public art projects across the southeast area of the United States, was laid on her academic work and study. For her, representation is everything: Identity, individualism, gender concerns, and social justice are all topics deeply explored in her art, with various mediums to express her inner dialogue. Her artwork highlights folklore, tradition, culture, mythology, and history from all the heritage that shapes her identity, drawing from her Scandinavian and Asian ancestry.

Considering her art has the capacity to influence people in social, political, and intrapersonal ways, she also examines topics related to historical memory and cultural preservation while focusing on Asian diaspora awareness and unity with society at large. All of the work she produces or curates is infused with her perceptive analysis and provocative commentary on historical memory and cultural preservation, especially as it relates to community. She looks back in order to be present and better look forward. Her ability to combine classic creative forms with modern subjects is demonstrated by the numerous shows that have included her paintings, murals, and installation pieces, which are frequently inspired by the junction of culture and identity. She received in 2024 Cultural Council of Greater Jacksonville Individual Artist Grant; and Pieces of Japan – Kintsugi Apprenticeship – Kyoto, Japan and others .. During this 2025 she’ll have exhibitions in Jacksonville, Florida.

Elena Øhlander’s official site | Facebook | Instagram

Would you please tell us something about you? What inspired you to pursue your career as an artist? Have you always had in mind a plan for what you want in life from a young age?

Becoming an artist did not feel like a choice, it felt like a calling. There are many ways to communicate and connect with others but none other feels more clear than to create a visual piece of art. Painting, in particular, feels like an alchemical process of connectivity. What is created, transcends what happens within the frame to something beyond into the hearts and minds of viewers.

Who influenced you in the fields of art? What piece of art or artist impressed you the most in your childhood? What are your best memories related to art?

Influence comes from so many places. In childhood, I felt representation was sparse beyond antiquated artworks from a time long passed. Albeit it disconnected as an Asian diaspora, iconic Ukiyo-e artists inspired me with their level of detail and depth of color. I felt connected to anime artists from the late 80’s and early 90’s – ever impressed by the details found in the daily objects and cityscapes. Together, I found my footing in what certainly informed my curiosity, process and ultimately, my style. Contemporaries I admire include, but are not limited to, Audrey Kawasaki, Taiyo Matsumoto, and Ozabu.

Can you tell us about your beginning and the challenges that you encountered? What motivated you to keep hold on this path?

Painting can feel daunting when the details require so much time and attention, no matter the size. When I tackle a mural, the approach is different – from scaling a work larger than life, to using spray paint on an often dynamic substrate – and there is a different physical exertion that comes from that work. There are differences but there is a defining thread between the works that I hope are identifiable by those who come across my work publicly and privately. I do find that I am more loose and expressive with my murals and more calculated and detail-oriented with my studio work.

Your art combines mixed-media illustration with large-scale mural work. Do you adapt your creative process depending on the medium? What media best highlights your personality? What do you enjoy most about them, and what are the most rewarding aspects?

There are many cultural nuances that show up in my work. It is an introspective journey around notions of identity. Lately, I have found myself leaning into the ambiguity and curiosity that childhood play has to offer. Depicting children and objects surrounding innocence and nostalgia has been cathartic and fun. I have been adding more elements of gold foil and weaving sashiko/boro stitching into the canvas to typify the idea of mending and the healing journey, while highlighting a traditional artisan craft. I am looking forward to exploring more ways of expressing through craft in the work.

In what ways does the intersection of culture and identity influence your choice of materials and techniques in mixed media? How has your mixed heritage shaped your approach to visual art and storytelling?

Having mixed heritage has afforded me the opportunity to explore and research so many artisan crafts from multiple countries – primarily, Asian and Scandinavian. I didn’t think I would find myself looking at traditional needlecraft techniques, common motifs often used as decoration, family crests, religion, mythology and folklore. These elements find their way into the work in new and exciting ways that hold historical memory and cultural preservation. It is a privilege to be in a position to tell the stories in this way.

Given the in-depth quality of your creations, do you consider art as a kind of action or an introspective forum for dialogue? How do you envision your work evolving in response to current societal challenges or trends in the art world?

My work has always been investigative. It comes down to those moments in childhood that called me to doodle and read with all my senses. In retrospect, the visual language was the modality to process the world around me. I think that is still true today, as my work is a reflection of my life in this time, society and intrinsically a part of the larger contemporary conversation. I think there has been a greater stride in the academic art world in revering female artists, particularly after the pandemic. I am privileged to hold space among so many greats and to be in dialogue with them. The personal is political, and thus my work is political. I evolve, and thus, so too does my work.

Are there any dream projects you hope to undertake that push the boundaries of mixed media and public art? What would you like public art to achieve in terms of social change or community identity in the next future?

I have dreams of large scale murals that find the bridge between tradition and contemporary, using AI and AR capabilities to inform the story beyond its 2-dimensionality. I hope to have the support from tech companies that can help me understand the boundaries and limitations so that we can move through them together.

The International Women’s Day 2025 is focusing on the theme “Accelerate Action” In your experience, what role does sisterhood play in women’s empowerment? Could you share a memory, personal or some story that impressed you, when women came together to lift each other up, and how did that create a meaningful impact?

Sisterhood, now, more than ever, is essential. I see a world where pinning women against each other creates opportunity for the gender gap to remain unbalanced. I find that my circle of close female friends has grown in my 30’s and we really support each other, celebrating all the W’s and moving through the L’s together – now there is something greater on the horizon, even if we can’t clearly define it yet. I am seeing more and more women in positions of leadership and simultaneous resistance. Equity and inclusion and major dialogues of our time but I look to the day when that is no longer a battle to fight, among so many others. Until then, tell the sisters to pull up. We got work to do. Together.

Photos and images courtesy of Elena Øhlander

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Dominique Musorrafiti

CHINA-UNDERGROUND. Ciao! My name is Dominique. I’m Italian and I’m proud to be a mix. My father was an Italian chemical engineer and high school teacher, with Greek and Polish heritage. My mother is Haitian, she was high school language teacher, with Dominican, Spanish, French, Portuguese, African and Native American heritage. Being a mix makes me appreciate to want to understand different cultures and lifestyles. I grew up in Italy, lived few years in Haiti, travel around main European capitals, lived seven years in China, six in Spain and UK. Traveling makes me feel that we can learn something from every situation in every part of the world.