Livia Papiernik in front of her artwork. Image courtesy of the artist.
I’m thrilled to introduce Livia Papiernik (b. 1997), a London-based Franco-British visual storyteller who is redefining the boundaries of contemporary textile art. With her mastery of mixed media, Livia weaves together painting, patchwork, and intricate embroidery to create vibrant, thought-provoking narratives that command attention. Her work explores complex social, political, and personal themes through a vivid, surreal lens, drawing viewers into a unique universe where beauty and tragedy collide, transforming the familiar into portals of self-reflection and escape.
Livia’s artistry is rooted in a rich academic foundation—her MA in Textile from the Royal College of Art and a BA in Hand Embroidery from the Royal School of Needlework. These formative experiences have not only grounded her in the historical and cultural depth of textiles but have also emboldened her to celebrate the power of this traditionally underappreciated medium, which she skillfully elevates into fine art. With deep ties to folklore and mythology, Livia’s creations are layered with symbols that resonate on both intimate and universal levels, capturing the emotional weight and beauty of textile as a narrative medium.
This January, Livia will exhibit as part of BOUND: An Embroiderer's Story, a group show at The Brixton Department Store in London SW9 8FR from January 16–21, with a private viewing on January 16. To bring this exhibition to life, Livia and The Bound Collective are seeking community support to raise over £3,000 to cover essential exhibition costs. Contributions will not only support Livia and her peers but will also champion textile art as a vital, transformative form that has been historically overlooked—largely because it was a medium pioneered by women, dismissed as mere “craft.” Now, more than ever, the fine art world must recognize its undeniable beauty, intricacy, and power. You can donate to The Bound Collective here.
Livia Papiernik is an artist I believe belongs on everyone’s radar, and I’m excited to share this interview, diving into her inspirations, creative journey, and distinct perspective. Keep reading to discover why her work is as mesmerizing as it is groundbreaking.
Image courtesy of Livia Papiernik .
Livia, I'd love to start by asking about the moment or experience that first ignited your passion for art. Was there a specific memory or feeling that made you realize this was the path you wanted to pursue?
Being neurodivergent, I struggled a lot as a kid to find my feet at school, and I found the French academic system particularly rigid and generally struggled to feel understood. The exception was with my mother, who also struggles with dyslexia. Doing art and creative projects together became the moments I felt the most myself; very quickly, art became the language I could understand and express myself with. From then on, I knew I was an artist. Not in the "I know what job I want" type, but in the this is the way I can exist and find my feet in the world. I was fortunate enough that my wider family is creative in various ways, so my artistic pursuits were always valued and encouraged.
Around the age of 5 or 6, I used to receive children's art magazines, and I would always do the art exercises from them. Those first few artworks are my earliest memories of making art. I haven't really looked in any other direction since.
Image courtesy of Livia Papiernik .
What does a typical day in your life as an artist in London look like? Could you walk us through how you balance creativity with everyday life?
Honestly, I still have to work hard to balance creativity and everyday life, and it's not easy! I work 3 days a week as a lecturer at the Royal School of Needlework and spend 2 to 3 days working at my studio in London. The studio days vary a lot. I can spend weeks on commissions and collaborations that focus more on embroidery for design projects. These are always exciting, as I love collaborating with other makers and designers and learning new ways of weaving embroidery into people's lives. My favorite days, though, are the moments when I can focus on my artwork. I always have so many stories and paintings running in my mind, so it takes me some time to focus on which ones to create first. Embroidery is time-consuming, so it can take months or even years before one of my ideas is chosen to be made into an artwork. I like to think they're brewing and growing until they're ripe enough to be picked.
My evening routine is an important part of my day and vital in reconnecting to my creativity. I take some time to sit still, write down some thoughts or poems, and read some folklore under candlelight. It allows me to take some distance from the stresses and fast-paced energy of everyday life and reconnect to my own sense of self. It's also the time when all my ideas come flooding in, and as my work is so tied to my emotions I need to listen to myself in those moments. It's a simple routine, but it works well for me.
Image courtesy of Livia Papiernik .
Your work beautifully combines textiles with elements of painting, patchwork, and embroidery, pushing the boundaries of contemporary art. What initially drew you to textile art, and how do you think it allows you to tell stories in ways that other mediums might not?
I was drawn towards textile art when I was young as I felt fewer rules existed. I didn't need to draw perfectly or have a specific picture in mind, I could just play with materials and have fun. I felt free.
I fell increasingly in love with textiles as I learned more about the long history connecting female empowerment and textiles. Fibers and fabric are so ingrained in everyone's lives without people realizing it. The smell and the touch of materials can bring back core memories, remind us of loved ones, and make us feel such a range of emotions. Incorporating texture and valuing the effect that each material I use can have on people's core emotional recall allows me to tell stories not just on a visual level but on an emotional one too.
I find that textile allows me to work spontaneously, where the picture evolves with time like a collage. Although I always start with a picture and a painting before I stitch, the details and symbols in my work appear gradually with time. I'm never really sure what the final picture will look like and I love seing those layering stages gradually form. This process is slow, and my mind develops and challenges the original concept as I physically work on the piece.
Image courtesy of Livia Papiernik .
You've studied at prestigious institutions like the Royal School of Needlework and the Royal College of Art. How did these experiences shape your understanding of the historical connection between embroidery, storytelling, and female empowerment?
I've always loved history, learning how the past has molded the world we live in today. That is why I love folklore and storytelling so much. I was drawn to the Royal School of Needlework due to the connection between embroidery and storytelling. Whilst there, my understanding of what their medium has gone through, what it's been used for, and how it's been viewed, treated, and undervalued made me want to work with embroidery even more. I felt empowered by the stories of all those who embroidered before me, an heirloom tradition that I was finally taking into my own hands and into a new generation.
When I went to the RCA, I came out of the bubble of the embroidery world and really started to understand its role within the broader art world. Textile art, especially embroidery, is still underrecognised within the art world and continues to suffer the feminine preconceptions that it has been bound to for centuries. During my time at the RCA, I recognized the importance of using textiles as a political tool beyond the craftsmanship of traditional embroidery. It pushed me to challenge the traditional methods of embroidery and focus on how I can use it in my own way to tell my own stories.
Image courtesy of Livia Papiernik .
Mythology and folklore seem to be recurring themes in your work, often creating a sense of escapism for viewers. Are there any specific myths, stories, or figures that particularly inspire you or frequently appear in your art?
Indeed, folklore and mythology have always been a huge inspiration of mine. I'm drawn to their ability to touch on such important topics and themes under the contrasting light of whimsical storytelling. In my work, I like to explore the subconscious and dream worlds. Exploring what stories may be hidden under the surface and what journey we may need to go on subconsciously to discover them. Alice in Wonderland was always a classic story that I connected to growing up. I find the blurred lines between dream and reality and how one affects the other fascinating. It opens up a world of possibilities and gives us space to breathe and expand when our physical surroundings don't allow us to. This way of looking at my day-to-day life inspiration started during lockdown in 2019. The emotional need to escape my physical space and create a new one for myself within it became my coping mechanism, and I've built on it since.
Throughout my work, I combine symbols from life, mythology, witchcraft, and tarot to create a language with which to tell my stories. Currently, I am particularly focused on the symbolism of water and what it represents depending on the space it inhabits and its movement. My recent collection of felted pieced "Reflections in the Water" explored topics of grief and love. Portals appear through water reflections to connect us to those we have lost.
Image courtesy of Livia Papiernik .
You've had the unique experience of working in both fine art and fashion, including collaborations with brands like Alexander McQueen. How has working across these different creative fields influenced your artistic process and approach to storytelling?
The luxury of having learned a craft like embroidery is that I can go from working on the most couture hand-beaded garments to then one of my own experimental embroidered artworks. The versatility of this medium is amazing and something I never really realized would be so useful and exciting as an artist. Working with fashion and design brands has taught me to work under strict time pressure and to work fast, even with a technique that is traditionally slow. The fashion world doesn't have technical rules, so when I started working in couture, all the traditional embroidery techniques I had just learned at the RSN were challenged in the best of ways. You have to think on your feet, be open-minded, and think of new ways to solve problems and ideas.
I also noticed more and more the parallels between catwalks and art installations. Fabrics, patterns, and embellishments come to life within such a short bubble of time, and the audience is immersed in a story until the very last closing look. This theatrical similarity is why I still love working in fashion alongside my art practice. Although I work across contexts, textiles and stitches are always at the center of that narrative in one way or another.
Image courtesy of Livia Papiernik .
If you could own any piece of art from any artist in history, what would it be and why does it resonate with you?
My automatic answer to this question is Claude Monnet's The Water - Lily Pond. It's the first-ever artwork I remember admiring as a kid. I fell so incredibly in love with it, its greens and blues, its calming and whimsical maturity. It calms me just thinking of it! I tried to paint it when I first saw it, it was amongst those first-ever paintings I remember doing I described earlier. I remember that feeling like it was yesterday, and I remember thinking then that one day, I'd hope to create something that captures this same essence. I'm grateful to that painting for the spiraling source of inspiration it kickstarted.
I would also have any of Gustav Klimt's artworks in my house. I find the alluring presence of the women he painted so empowering and breathtakingly beautiful and fierce at the same time. I think walking by one every day in my house would be a constant source of adrenaline for the day ahead.
Stay up-to-date with the artist here:
Instagram: @liviaembroidery
Website: www.liviapapiernik.com
Email: livia.papiernik@yahoo.com
Hello! I want to underscore the importance of transparency in my work. I maintain no affiliations with the artists or galleries showcased in this interview, and I do not gain financially from any resulting sales through the provided links. My ethical stance extends to not accepting money from artists for features, as I firmly believe in recognizing talent based on merit rather than financial incentives.
If you're intrigued by the artist's work, I encourage you to reach out directly through the provided links. Should you require assistance in finding the right art for you, I am pleased to offer my art sourcing service—please contact me for more details.
Your support is invaluable in sustaining my independent writing endeavors. While I offer content free of charge, your contributions play a vital role in fueling my ongoing work. Consider showing your appreciation by making a small donation through the "Buy me a coffee" platform, a common support avenue for creatives like myself. Click the button above to contribute. Thank you for being a valued reader and supporting ethical practices in the art world!
XX Jenny