Peggy Roalf: Which came first, the brush or the tablet?  
Alexandria Olivia Hall: The brush! Well, technically fingers but the brush followed soon after.  

PR: Where do you live and how does that place contribute to your creative work? 
AH: Currently I live in Nashville, Tennessee. Nashville is an interesting mix of different creative energies all trying to spread their wings with the city around them evolving at a rapid pace. I love how in nature I feel in my home while still being minutes away from everything I could need. I grew up in the Tennessee countryside so the natural beauty of my neighborhood and the time spent in my garden are really peaceful and inspiring to me. 

PR: Please describe your work space and how it contributes to the illustrator’s basic condition of working alone. 
AH: I recently just took the time to rework my studio space in efforts to create a haven of sorts. After years of spending so much of that alone time in spaces that felt “meh” I had a pandemic crisis about my space. Now, I have a studio with several different work areas: my digital station, an area for watercolor and gouache paintings, and an area for the oil paintings I do. I al o have a lot of plants, and artwork in the space.

PR:What is the most indispensable item in your studio? 

AH: Hmm, my first reaction was my Wacom but actually I’d have to say my Zojirushi hot water boiler. The amount of hot tea a day I drink in the studio is obscene. If that thing goes down the whole ship is going down. 

PR: Do you keep a sketchbook? If so, how does that contribute to your work process?

AH: I’ve always wanted to be one of those artists that has one of those immaculate, every page drenched in glorious beauty, super hip and amazing sketchbooks that could be considered a piece of art in and of themselves; but that’s really not me. Sketches come to me in the heat of a moment, scribbled down in white hot fury before the image slips away. I do keep a sketchbook for this reason; it sits right next to my computer and I sketch in it before each project I work on, but they are quick and messy. I then create digital sketches and color comps that are more refined. 

PR: I noticed that in addition to murals, posters and illustrations, you also work in 3D, making ceramic objects. How does working in clay inform your assignment work?

AH: I minored in ceramic arts in college; it has always been so impactful for my 2D works from then as a student until to now. When I’m working in clay, I feel so free, fearless, playful, and intuitive. That creative energy can be so hard to feel when doing assignment work or big projects with a lot of pressure behind them. Experiencing this other creative outlet that brings so much joy and inspiration to me gives me more courage to take more liberties in my illustration work. 

PR: Do you use photographic reference materials very much? If yes, how do you avoid the pitfalls that can arise when working from reference?

AH: I use a variety of reference types. Mostly I actually use photos of myself in different poses to find a general idea to build upon, especially for lighting and poses. Unfortunately, I’m a really crap model. I also sometimes use 3D models to show me a base pose/body structure to build features upon. When I need some really specific reference for a project, I make sure to only use photos that have total free usage rights and I save them with the files information just so I know I am 100% protected from any usage problems that could arise. 

PR: If you could work in just one medium for a year what would that medium be—what would you do to start out?

AH: Oooh, this is tough. I think I’d have to say a full year of murals would be a dream. I love the impact that public art can have on a community, and the satisfaction that comes with problem solving each mural installation. If I could have a year-long stretch of working on murals in different cities or around the world I would be so fulfilled. Hmm, maybe this will become a reality one day in the future.  

PR: What kind of breaks do you take to clear your head when working to a deadline?

AH: I take tea breaks. I also take breaks to water my garden in the summer months, cook a good meal, or go for a walk. Getting into nature is the best way for me to relax, but if I just have a small amount of time I’ll make some good tea and chat with a friend, watch some youtube, do some cleaning, or have a snack. Nothing profound really but these are the simple day-to-day things that help me stay focused and productive. 

PR: Do you see a lot of museum and gallery shows? What’s the best takeaway from seeing art shows rather than looking at online media, books, magazines?

AH: I haven’t seen a ton of shows since the pandemic started, but I’m looking forward to seeing some this year and as travel becomes easier. I used to work in a gallery and loved seeing the installations come to life from that side of things. There is so much to be gained from seeing things in person. Of course, there is the obvious additional tactile level of things that are not easily translated to the screen, but the opportunity to meet other people, hear conversations about the works, and to have the scale of things really make their impact are my favorite takeaways. It’s hard to communicate scale digitally or in print.  

PR: How do you know when the art is finished—or when to stop working on it?
AH: If I feel like I’m approaching the finish line I will take a break for a few hours and come back into the studio to take another look. I instantly know by looking at the piece if there is something I’d like to change. I consider things completely done when I walk back into work, look at the piece, and get filled with excitement rather than pinpointing a change.  

PR: What are some of your creative inspirations—artists, music, literature, culture in general—that you draw from in your work?
AH: I find a lot of inspiration from Japanese animated films and shows, and the feeling of melancholy. Some of the visual artists I’m inspired by are Ichiro Tsuruta and Hajime Sorayama, Trey Abdella, Jenny Morgan, Jen Mann, Tran Nguyen, among others. 

PR: What would be your dream job—the one thing you have always hoped for in an assignment?
AH: Hmm, there are a lot of things that come to mind but I think right now having an insane high rise sized mural project would be an absolute dream. Yes, being up that high would be insanely scary, but I’d love to do that one day. 

And I’d like to mention that I am doing an artist residency in Tokyo at Almost Perfect in July of this year. This is definitely a bucket list dream experience; I am so excited. I will have a gallery show at the end of the residency showcasing the works made there. 

Alexandria Hall is an American illustrator and muralist living and working in Nashville TN. Her work contains themes of surreal mystery and subtle sensuality - portraying contrasting delicate yet sharp depictions of our world and the people that inhabit it. Interested in how small unseen moments of connection can carry unbridled emotion and intrigue, Alexandria uses vivid color and longing expressions to create a dreamy world filled with mystery and warmth. 

Instagram: https://www.instagram.com/alexandriaolivia/

Website: https://alexandriahall.com/ DARTinterview