Interview with Gisèle Giraud

Can you tell us about your background as an artist? How did you become interested in art?

Growing up in Austin, Texas, with a French-American heritage, my artistic background started in unassuming places—dive bars filled with the sound of my father’s music, where I’d have the microphone lowered to my three-foot self to sing a solo of Twinkle Twinkle Little Star after his set. I spent after school soldering scrap nuts and bolts together to make little sculptures, and afternoons recreating comic book sketches at the dining table. My world was shaped by instruments, the scent of aging books and records, and stories from old school punks and rockers. Creativity wasn’t just encouraged; it was a way of life.

What draws you to this subject matter, and how does it inform your creative process?

I am drawn to this subject matter because it allows me to transform personal emotions and experiences into visual form. Each piece is deeply personal, incorporating objects and memories from both my daily life and milestone experiences, using color and form to convey emotions that words usually can’t. It molds my creative process by using traditional and digital mediums to balance instinct and experimentation, creating a connection between past and present.

How do you navigate creative blocks or challenges in your artistic practice?

I’m still learning how, and I think I always will be. I try not to look at them as obstacles, but only as if my brain is asleep for a bit. I worry that when trying to wake it and force myself to make things that don’t feel and come naturally to me, whatever becomes tangible will no longer be genuine. I find that if I dwell on creative blocks or challenges, insecurity starts to develop and I question if I’ve lost my ability to translate my mentality or if I’ve run my creative streak. When in reality, I just need to give it time or take a walk about. Most of the time I end up finding a piece of garbage on the ground that I like the shape of.

What mediums do you primarily work with, and why? Do you have a favorite medium or technique?

I work primarily with acrylics and occasionally oils because they allow me to build a lot of depth through layering. Acrylics dry quickly, allowing me to work intuitively and build multiple layers in a short time—which is helpful since I can also be very impatient. Oils, on the other hand, give a richness and an extended drying time that lets me blend and go back to manipulate with different tools. I’m especially drawn to fluorescents, which acrylics handle beautifully. They have a vibrancy and opacity that give me a lot of leeway with contrast and luminous effects. A favorite technique of mine is a print transfer method that I developed through a lot of trial and error. I found out how to transfer my digital designs onto wood panels using the backing of shipping labels and a gel medium. It started with wanting to be able to break digital boundaries because I’ve always craved to alter and distort absolutes. I was then able to paint on top and bend anything I created digitally to my will in a physical format.

How do you see your art evolving in the future? Are there any new techniques or ideas that you’re excited to explore?

I see my art as a reflection and extension of how I’m living my life as a person. As I face new challenges and experiences, I know my work will naturally match that. While embracing change can be tough, I believe it pushes me, both personally and artistically. When it comes to technique, I’m really excited to experiment with mixed media and create more interactive and dimensional pieces.

What influences or sources of inspiration inform your artistic practice?

While I’ve mentioned my practice is deeply influenced by my personal experiences, music, and film will always be driving forces. They act more as motivation and indirect inspiration. I have what I like to call an “itch” to know everything about the history behind the music and films that inspire me. I go down rabbit holes and find inspiration in anything from fun facts to the hardship of a musician's journey. I devour books and movies and actually just finished Debbie Harry’s autobiography Face It. 70s punk magazines, especially the raw collage style, have a significant impact on how I approach the visual aspects of my art as well. French films such as Jacques Tati’s Mon Oncle and Louis Malle’s adaptation of Zazie shaped how I see the world. Mon Oncle compares the priorities of adults with the innocence of children through the contrast of an environment that carries history and warmth with one that’s sterile and lifeless, while Zazie explores the absurdity of adult life through a lovable brat. They encourage me to blend humor, irony, and chaos—not just how I make my art, but how I view my pieces as well.

Finally, what advice would you offer to aspiring artists who are just starting their creative journey?

Anything you create—whether it's painting, music, writing, or any other form of expression— will forever evolve alongside you. It’s not just about skill or external success—it's about how you grow, feel, and live as a human being. As you change, so does your work. In life, we get tossed into situations that force growth and constantly raise the stakes. That growth happens when we face challenges not in our usual ways, but new ones. After all, how could you do anything if you keep telling yourself you can’t? The same applies to art— real progress comes from stepping outside comfort zones and engaging with the world and tackling discomfort, not from avoiding it or seeking perfection. Art isn’t about flawlessness, it’s about the sake of creating and that’s enough.

Gisèle’s Website

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