mishmash creatives: Graça Paz

Your work often seems to evoke both serenity and energy. Can you walk us through the first moment of inspiration — what does that ignition of an idea feel like for you?

For me, inspiration isn’t a sudden lightning bolt — it’s more like a chain reaction. My work builds on an ongoing conversation I’ve been having with abstraction over the years. Sometimes I see something in a painting that sparks a new series, and from there, colors lead to forms, and forms lead to repetition.

I’ve realized that repetition brings me peace. It creates space to think, to breathe — almost like a form of meditation. In fact, I now paint mostly in silence. I don’t rush into it. I arrive at the studio, settle in, revisit what I did the day before. That quiet ritual of arriving and being present is essential.

I’ve even started doing yoga before painting. At first, I felt guilty about not jumping straight into work, but I’ve come to understand: caring for myself is part of the creative process. I might arrive later, but I arrive more focused, more grounded.

How do you balance spontaneity with structure in your creative process? Do you follow a ritual or let each work unfold intuitively?

Spontaneity is at the core of everything I do creatively — even posting on social media has to feel genuine and excited in the moment. But that spontaneity only works because I give it structure. That’s why I work in series: each one is like a conversation I’m having with myself.

Working in series brings coherence to my abstract work — which often comes from deeply personal, inner dialogue. Structure gives me a sense of safety and clarity. It’s what allows me to be free. I believe that when you have a strong routine, you’re no longer searching, you’re simply flowing.

That said, I stay open to change. I recently agreed to a project that takes me in a new direction. As long as it aligns with my values, I’m excited to explore.

You've blended fine art with design and other disciplines. How do you decide what medium or format a new idea demands?

It always starts with spontaneity. Maybe I’m working on a series, and suddenly a color or shape interaction sparks an idea that feels better suited for another medium, like a textile hanging or a watercolor. But each idea has its own unique identity, and not every concept works across all formats.

Some pieces need the softness of fabric, others the structure of canvas. My large unframed hangings, for example, come from my background in fashion — I love embroidery, and over time, I started blending painting with stitching. That connection came naturally, like Steve Jobs said: “you can only connect the dots looking backward.”

Even though I value structure, I need variation. When I spend too many days doing the same thing, I know it’s time to switch — to embroider, to frame, to move — and let new ideas breathe.

Are there recurring themes or symbols in your work that you only recognized after years of creating? 

Yes, absolutely. Over time, I began noticing recurring shapes that reflected different phases of my life. My work often moves between the geometric and the organic — from squared, structured forms to softer, rounder, almost womb-like shapes filled with layered detail.

Repetition is one of my strongest symbols. It shows up in overlapping forms, in series, in the quiet rhythm of my work. Recently, after completing something deeply meaningful that brought me a strong sense of structure, I realized I had shifted to painting mostly squared forms. That square shape began to represent safety and clarity for me.

It’s interesting how these symbols evolve. A client recently pointed out how much my style had changed, and it clicked: my inner landscape had changed, so naturally, the forms followed.

Do you keep a sketchbook or a journal as part of your daily routine? What does it usually contain — drawings, color tests, phrases, emotions?

I’ve had a daily notebook routine for over 20 years, writing every day. Choosing which notebook to use is part of the ritual — it matters that it looks good, has the right paper, and works well with my pens. This process of selecting and using notebooks excites me. Writing daily helps me organize my thoughts and process life’s experiences. Sometimes, even at night, I’ll leave my computer aside and write by hand to clear my mind.

Currently, I’m keeping a detailed diary recording the final phase of my mother’s life. I draw a lot of scenes and people, while writing about the emotional ups and downs I experience.

In the studio, I always have a notebook for color studies, for layering and testing different hues and combinations before applying them to my work.

Each morning, I check my planner to review the month’s schedule and decide what to prioritize or postpone, keeping balance and focus.

Are there specific tools or materials (paints, brushes, digital devices) that are essential to your practice? Any favorite brands or products?

Paints are absolutely essential, as are rulers and canvases — I’m fascinated by these tools, though I don’t collect them.

Having a well-organized, well-lit studio is crucial. I even designed some furniture to support my work with paints and drawings. Order and cleanliness in the studio are vital for my focus.

Early on, when I had almost no resources, I made canvases myself by cutting and assembling cardboard and using found materials. This unconventional start freed me from traditional ways of painting.

Currently, I’m exploring Portuguese codfish paper (used historically for drying codfish) combined with gesso and glue to create unique textured panels that serve as my painting surfaces — an alternative to traditional canvas.

Although I sometimes work on regular canvas, I like to personalize or invert the canvas to expose linen, making the base itself part of the creative process.

Can you show us or describe one of your most cherished notebooks or sketchbooks — what makes it special?

One of my favorite notebooks is always by my side here in the studio. In this particular one, I worked a lot with watercolor, and it’s my constant companion as I track and develop my work. This notebook contains a study I did of all the paints I had in the studio, to really understand what I have. I spent months testing different brands, transparencies, and colors, coming to the studio to try out each one carefully. Now, I’m planning to do this again to maintain a fresh and conscious relationship with my paints and avoid always defaulting to the same choices.

With the Weekly Planner, I ended up developing a whole system that’s really fun and helpful, you know? When I have appointments, birthdays, or anything else, I use your stickers and organize everything visually. It creates a structure that honestly helps me so much.

What I do with this planner is sit down and make a compact record of my work — what I did the day before, what I need to do today, whether I made payments or had meetings. In between, I also jot down things about home life. It helps me keep a small, clear overview of everything I have to do or have already done.

I’ve realized this practice holds incredible value, because it helps me trace back moments in my life, to understand what’s happening now. I can look back and see, for example, what happened in July 2000 and remember those moments. There’s always a connection to the present moment, and since I started doing this, I truly grasped the importance of these little anchors.

When I saw your product “Naked Frames,” I immediately loved the name. Frames, as in picture frames, is about framing ideas. It could be a weekly plan, projects, or even just random thoughts — whatever people want. I adore its simplicity, how it’s “naked,” just that pure square with a cross inside. I love that.