MIRROR MIRROR | Samara Couri

Do you feel that, through spending so much time looking at your own reflection during the creative process, you've inevitably captured aspects of yourself in the work?
It’s interesting as I don’t really look at myself at all in my mirror work. I know I am being reflected physically, but I don’t ever pay attention to actually looking directly. I immediately just start painting; I am looking and focusing on the paint so much that my reflection is so secondary that I’m almost invisible to myself. I do not want to put myself in the work in that way. However, on a physical level, I sometimes do use my figure to paint from as a reference, but not as a self-portrait. So, in that respect, that is the only time that I might get myself involved but it’s creating a different character from it.

Your works are meant to interact with one another. When painting a figure, do you envision its counterpart from the start, or does that connection emerge later in the process?
Unless it is a subject matter that is very specific, a lot of the time it does in fact emerge later. There are many times where I will paint a series of figures or portraits and had an idea of whom they may go with, but it can completely change when I move them around and see what feels and fit best, depending in their expression, on the angle of their face or body, all of that plays a role in the decision making.

In another interview, you mentioned that you hoped viewers would walk away from your pieces and “be able to feel that they can trust that space that is between the mirror paintings.” Do you feel that your work connects you to viewers, or that your work allows viewers to connect deeper with themselves?

I think it's more having the work in that space that does allow the viewers to connect in whichever way they experience it. That is part of the immersive experience that I hope emerges between the viewer and the art work. The space and reflection between each piece and the viewer is what creates the connection and dimension, making it their personal space at that moment.

Having grown up in London and now living in Hawaii, the contrast in culture, aesthetic, and atmosphere is significant. How has this shift in environment influenced you, both personally and creatively?
The lifestyle has definitely influenced me in my daily life: being able to be in the ocean at any time, going on breathtaking hikes, being involved in the culture, which I think is very important. Everywhere I turn, I am looking at such great beauty. Practicing living aloha, showing aloha, is so important to the island to keep that alive. With so many changes here it is important to remember the essence of the island's philosophies, its history and showing appreciation and respect. You learn that you do not move here to change the island in whichever way, you allow the island to change you. And that is where we start to learn a lot more about ourselves and allow ourselves to grow.

London absolutely has so many things that are incredible and unique and amazing beauty in itself, and I will never take that for granted, it’s just very different in the way of life and its nature. Being here in Hawai'i influences my work greatly as it is important for me to have a focus on the Hawaiian people that I want to show in my work, as well as their beliefs and connection to the island's powerful nature.

Can you highlight a work that you feel most effectively represents your values and artistic vision?
I suppose I will go back to an older piece of mine, Mirror Mirror, as this shows the work exactly how I intended it to be. Suspended from above, having the space in between the two pieces reflecting off each other at particular angles. Painting people from different backgrounds, having them all connected as one but also having their own identity. Hence making two mirror paintings as one piece.

How do you know when a piece is finished?
I usually go by feeling. If I feel I have captured the look I wanted, then the rest is easier to complete. Sometimes I may leave a little gap where you can see the mirror through the figure that I don’t feel I should cover that little bit up, because it feels right for this piece, the mood of the piece and so forth. Sometimes I think I have finished it, but if I find myself thinking about it, I know there is something I need to adjust, even if it is a little tweak, and so I will go back to it and change what I think is necessary. When I feel much better and I no longer am thinking about it, then I know it is finished.

Tell us about what you are currently working on!
I am currently working on the Hawaiian deities, which in Hawaiian are called Akua. It is a deep study into what it actually is, not by the western translation of what they think Akua means, such as “God,” etc. Each Akua is a representation of the process of its nature, such as the lava, the rain, the forest and so many others and how they all relate and help one another as it helps the earth, and the earth in turn helps us. They have been personified as deities, if you will, and so with this, I am painting the different Akuas on the mirrors. Each piece is a pair that I have to think carefully about which ones I will be putting together. With this subject matter, I am working with a Hawaiian cultural practitioner which I think is vital for someone that is from the outside to make sure I understand this subject well enough and to hopefully represent it in the best way possible.