"Aunia Kahn's work combines many disciplines, wrapping them into a hybrid art form melding photography, painting and collage. She invariably designs, builds, and executes characters, non-existent places, dreams, illusions, fears and fables into creation, which meld elements of classical and contemporary art. Each work makes use of her own likeness in movie-like stills, dealing in varied taboo and often controversial subject matter to challenge the viewer, their understanding and preconceived notions; yet she connects through honest feeling and emotions. Aunia's work has constantly evolved, earlier works dealt more with her past, while her more recent creations delve into present emotional conflicts and inspirations." - Official biography excerpt.

The women in your work have very graceful poses. I know you sometimes use photography in your work: would this be a tool you would use for creating these positions, without concerns about anatomical accuracy at the painting stage? Or perhaps using a mirror?
My work is a mix of photography, collage and painting and it depends really on what aspect is painting. Often times I paint the wallpaper, textures, or an object like a bird and import those pieces into the computer, but I also digitally paint. Overall the female proportions are developed through the photography of myself.

Lighting is obviously very important  in your work, there are particular highlights in Our Intrepid Discoveries that lends itself to the dreamlike quality of the series. What do you think about when considering light in your work? 
The lighting just seems to come as I work with the image. When creating artwork I think as it grows you can feel where the image should be illuminated or what parts you might like to highlight, and make stand out more than others. It really depends on the work, the object and the focal point I am creating.

The skeletons of your subjects are sometimes visible. What is the idea behind showing the bones beneath the skin?
It began when I encountered a conflict in health both personally and with numerous people around me. Being in hospitals, thinking about death and dealing with the reality of mortality is really where the series started to emerge. We are all so fragile, and we all have so much under our skin that we keep hidden from the world

You have talked about a period when you shut yourself in your house and painted, without leaving and immersing yourself in the creative process. Was this time spent on the series Our Human Error? Could you tell us more about this series?
This time in my life was indeed spent on that very series, and was the first series of work that I created and was very cathartic to me at the time. I submerged myself in the creative process to help myself through a journey of healing, and this series is what came of that journey.

It is amazing to think that you are self-taught considering the quality of your realism. Were there any particular sources of information you used to help you along the way to developing your style?
It’s all been trial and error in the creative process. I have watched tutorials, read books, and have studied hours and hours of other artist’s artworks through a plethora of means such as books, visiting museums, and browsing the Internet. Most of my life I have been able to capture my ideas, and express them visually, musically, through the written word and otherwise.

Do you always paint self-portraits in your work? To paint yourself in such a way must be an intensely personal experience. Was it a difficult decision to use yourself in your work as the model, or did it come as second nature?
I have never been able to work effectively with models on my own personal projects. Right now my works are still very personal, raw and just me. It’s the way I feel most comfortable exploring the depths of emotions, environment, and myself due to staying tight knit and working with myself on all levels. I do commission works, collaborative works, and artwork for causes, which takes me outside that box to keep things from getting stale and exploring works with other people in my art.

As well as creating fantasy scenes, you paint figures in old-fashioned clothes and scenarios. Do you feel a kinship with women from the early 20th century?
Very much so. My feelings are that I was not born into the time I feel I fit best. I feel very out of place in the time we live now. I do enjoy much of the progression that we are experiencing through the years, such as amazing advanced technology, but I am utterly consumed with the times of the past, and the people that lived in them. I enjoy older fashion, morals and the spirit.

Our Common Silence series expresses your feelings about "religion, politics and death". These are very sensitive subjects for many people. What reactions, extreme or otherwise, have you received from these works?
With any work that I do, I get both positive and negative reactions; along with people that question things because they do not understand my angle in a specific work of art. Although the topics that I breach are oftentimes considered taboo, I find as a series it has captured some of the most in-depth conversations over the time I have exhibited them.

The palette you use blends grey and muted tones with bold and almost electric colours. This is a striking combination and brings added drama to your work. When deciding on which colours to compliment your subjects, what process do you go through?
The process is similar to that of lighting, the colors build and grow as I work on the piece and can change as well. Sometimes I have a plan, and other times the plan has me.

Tell us more about the work you do raising awareness for mental illness through exhibiting your work, and the works of others, over the years?
Mental illness is something that is very important to me, and it is my hope that it becomes a topic that is much less taboo, so a heightened awareness can ensure people that suffer are no longer treated poorly. I feel that mental illness, just like physical illnesses such as diabetes can be treated, helped and at times cured with the right attention to the issues and the right help being available. It’s interesting to note that, one in five Americans suffer from mental illness. To help raise awareness I have been part of the (MOHOP) Mental Health Outreach Program at Washington University School of Medicine here is St. Louis for the last 5 years. I have shared my artwork, but have also spoken on the panel each year. I also donate artwork to specific causes and when I can, donate my time as a volunteer. I also reach out to other organizations to raise awareness for many other causes like AIDS, breast cancer, animal rescues, environmental causes, and much more. I think that is an important part of my career, using my art to make the world a better place.

Last year you released a book called Obvious Remote Chaos, of poetry, photography, stories and lyrics. How did that project arise, and do you have more plans for publications of your work combining art, music and literature?
Russell J. Moon and I have recently completed the ”Inspirations for Survivors” deck which will be published by Schiffer Publishing in 2012, and I am in the editing process of my second book “Minding the Sea: Inviting the Muses Over for Tea” being published by Desperanto (Release Date Slated: June 2012), along with working on the “Lowbrow Tarot Project” book and deck. I have also been curating a book with Scott Faithfull, “Bound By The Secrets We Hide” which is the fourth in the series of “Bound By Secrets” books. Each of the books is given a cause to focus on, while a percentage of sales go to that organization of choice. This one will focus on suicide prevention. I am also working on a spoken word CD with my band AfterChain to be released late this year or early 2012.

You are a member of a band called AfterChain: what kind of music do you like to listen to yourself, and where can people hear your music?
I love all kinds of music. Music is one of the very things that inspires me to create art. Some of my favorite bands are: Nick Cave, Beethoven, Tom Waites, Leonard Cohen, Project Pitchfork, Suicide Commando, The Dead Can Dance, Helium Vula, Faderhead, Combichrist, Tori Amos, Eminen, Poe and many more! 

AfterChain is just me, so maybe it’s more of a music project than a band, as I produce all the vocals, music and lyrics. Although I am not too sure what to call it half the time, it’s just me making music. Having a good time. You can find my music: www.afterchain.com, and right now I am working on a spoken word CD to be released late this year or early 2012.

What is your idea of a perfect working day? 

If temperatures are cooperative enough, to open the widows wide in the studio, which is filled with studio fur children (4 dogs and 1 cat) along with playing some awesome tunes to serenade my soul. I love to eat, so lots of snacks and plenty of water! One of my all time favorite films to play in the background is Shawskank Redemption.