Karla Alejandra is an emerging artist who stands out due to her understanding of colour composition and personal warmth. After studying abroad for a semester in the Czech Republic and finishing her studies in her home country of Mexico, she has decided to relocate back to Brno. Her work has been featured in a range of digital and physical exhibitions across Mexico (Pachuca, Mexico City) and Central Europe (Munich, Brno). Her paintings have also been part of art auctions, reflecting a growing presence in both curated spaces and collectors’ circles. Brno Daily spoke to Karla to find out more about her craft and her artistic vision.
BD: Is art something to be learned? How did you develop your current style?
K: Art can absolutely be learned, but not necessarily in the traditional sense alone. There’s technique, yes—but there’s also listening to your intuition, noticing what moves you, and allowing that to take form.
For me, learning has come through art history, through experimentation, through listening closely—to myself, to the world, to what wants to be said. That’s how you find your rhythm, your questions and your own voice. And no, it doesn’t have to follow a formal path, the journey is as unique as the artist.
Much like in science, it’s the repetition, the trying, the failing, the discovering that shapes a language of your own. Mine has grown over the years, shaped by experience, by change, by meaning. I create with intention, always aiming for something honest—something that resonates beyond the canvas and just as we evolve, so does our art, that’s what makes it powerful and that’s what makes it worth living with.
BD: Are there any outstanding names that you feel have particularly influenced your own work?
K: I like to admire, appreciate, respect, and try to understand other artists—from the old masters, to the anonymous creators of pre-Renaissance times, when art was often made to serve a purpose, like teaching religion or honouring myth, rather than existing for its own sake. I look at everything—from the avant-garde movements to contemporary icons, and even the not-yet-known artists who are quietly creating profound, moving work away from the spotlight.
Nevertheless, one artist who has deeply influenced me is Remedios Varo. I remember standing in front of her paintings several years ago and feeling completely drawn into her world. Her art wasn’t just surreal—it was structured, strange, poetic, and intelligent. What struck me even more was her as a woman artist not trying to follow any path—just building her own, to me it is very inspiring seeing a woman with her own artistic voice dominating the space with incredible artworks.
BD: What are the main topics in your work? Have you spotted frequent motifs in it?
K: I see art as a space for connection—an open mirror where each viewer might recognise a part of themselves. My work speaks from a deeply human place, shaped by emotion, memory, and everything that lives beyond words. I paint not just what I see, but what I feel—and I hope others find their own stories reflected there: their perspectives, dreams, and memories.
For me, art lives between the real and the imagined, in a surreal, intuitive world. It’s a quiet language that invites reflection and self-recognition—a shared space where stories overlap and meaning unfolds. To me, arts are our human legacy.
My portraits are often where this language takes its clearest form. They balance distortion and fantasy, yet remain grounded in harmony and beauty. I weave together figurative elements with touches of abstraction and surrealism, creating a space where the inner world meets the outer—where symbolism and emotion find room to breathe. Recurring features like large, expressive eyes, elongated necks, vivid colours, and natural motifs such as flowers, moths, and butterflies, all serve as visual anchors—echoes of feeling and memory.
Beyond portraiture, I also create landscapes that allow for a more intuitive exploration of texture and palette. Lately, I’ve been drawn to Czech scenery: highlands, quiet villages, trees with presence, and skies that feel both soft and infinite. These settings become dreamlike spaces like the ones we all enjoy on a nice spring or summer day.
In parallel, my abstract pieces offer a different kind of language. They move through colour, gesture, and rhythm, without the need for a figure or a narrative. In these works, I let go completely—I follow the energy rather than guide it.
While my art doesn’t follow a political agenda, it remains personal and emotional and aims to connect with the people who see it.
BD: What materials or techniques do you currently feel more comfortable working with?
K: My primary medium is oil paint. I love working with oils because they allow me to work with time, narrative, and detail—qualities that I value deeply in my process. The richness and depth the oils bring to a painting offer a level of craftsmanship and technique that feels timeless, the process itself is careful, detailed, methodical and it requires precision, which gives each piece its own sense of exclusivity. Oil painting provides a more immersive and intentional experience, where every layer and stroke contributes to the final vision. I often complement my oil paintings with golden leaf accents, which add a unique, radiant touch that elevates the overall composition.
For landscapes, I often use oil pastels, which give me a unique texture and finish I really enjoy and I also work with watercolors and serigraphy, adding a bit of variety to my practice. Over the years, I’ve experimented with other techniques like gouache, charcoal, and acrylics, but oil paint and oil pastels remain as my main mediums.
BD: Tell us more about one of your personal favourite paintings.
K: One of my most iconic works is Golden Shower. This painting holds a special place in my collection, not only because of its visual impact but also for the layers of meaning it conveys. The piece invites viewers to expand their perspectives, exploring the delicate balance between movement, vision, and self-acknowledgement. The figure in the upside-down portrait, half-human, half-flower, embodies a surrealist connection between nature and identity, inviting reflection on growth, transformation, and the power of embracing one’s true self.
The golden accents in the painting add depth and richness, creating a dreamlike atmosphere while complementing the delicate, yet dynamic energy of the composition.
BD: Does the experience of being an immigrant affect your understanding of your own art and the outcome of it?
K: Definitely—it has impacted my art on a deep human level, shaping the way I express emotion and narrate my journey through painting. Living abroad brings a unique emotional feeling—one that blends nostalgia, resilience, and a quiet sense of transformation. You begin to feel like you belong nowhere entirely and you are forced to constantly rebuild and rediscover yourself. Adapting to a new place, language, and culture is not always easy, but so far, it has brought me joy, love, and a renewed sense of purpose. All of that inevitably seeps into the work.
BD: How has the Czech Republic influenced you as a person and as an artist?
K: Since moving here, I’ve found myself more connected than ever to nature. The forests, the quiet rhythm of the countryside, the flowers I see on my walks, and the wide, expressive skies have all started to show up in my paintings. I’ve been especially inspired by Vysočina which is such a lovely region, full of soft hills, little cottages, and a peaceful atmosphere that stays with you.
BD: How different is the scene here in Central Europe in comparison to the one in Mexico?
K: The art scenes in Mexico and Central Europe are very different—but equally rich in inspiration and opportunity. In Mexico, there’s an energy that comes from bold colours, spontaneity, and a deep appreciation for expressive, even unconventional works. Larger pieces and unique styles tend to resonate well there.
In Central Europe—especially in places like the Czech Republic—the connection often comes through quieter tones, traditional motifs, and a love for detail. Many collectors here are drawn to works that feel familiar, like nature and the lovely village vibe.
It’s not about one being better—each place has its own artistic rhythm and audience. Certain pieces find their home more easily in one region than another, but in the end, it’s about matching the right artwork with the right person. I love seeing how different niches respond to different aspects of my work, and how both spaces have helped shape my journey.
BD: Some people argue that the AI revolution is a menace for humanities and fine arts. Do you agree with such statements? How is your generation facing this threat?
K: AI is definitely a useful tool for administrative and personal tasks, and I find it helpful in aspects like organisation and planning. However, I don’t view AI as a threat to my artwork. My art is created through traditional techniques, and my vision is very much my own. There’s a personal, physical connection that comes with handcrafting each piece that AI simply can’t replicate.
Oil paintings, in particular, offer a unique sense of ownership. There’s something deeply meaningful about having an original piece on your wall—a one-of-a-kind creation that carries the emotions, time, and technique with which you can connect and feel. An original oil painting has a presence, it stands out in a room, when you look at it you can feel it and connect with it.
Owning an original painting is more than just buying art; it’s an investment in something that tells a story, adds beauty to your space, and becomes part of your legacy—something to live with and even pass down through generations holding value and history.
BD: Do you rely solely on selling your works? Are grants or sponsorships necessary for you to be able to focus on what matters the most?
K: At the moment, I’m supported by a sponsorship that allows me to stay true to my style and artistic vision, while also selling my original artworks. From time to time, I also create custom paintings based on special requests, which is always a rewarding experience—it’s beautiful to collaborate and bring someone’s vision to life through my own language.
In addition to painting, I’ve started offering curatorship services for emerging artists. It’s a growing part of my practice where I help others find their voice, present their work professionally, and connect with audiences. I believe in creating opportunities not just for myself, but for a wider community of artists.
BD: How do you balance the craft and the business side to it in order to support yourself financially?
K: Balancing the craft with the business side of things can be challenging, but it’s essential. I allocate time to both aspects, ensuring my creative process remains uninterrupted while also managing the administrative tasks that come with being an artist. This includes marketing, networking, and managing sales. I think of these as an extension of my work and I try to be active and present in different events and among the artistic community.
BD: What comes next for you? Are you working on any new projects you would like to share with our readers?
K: At this stage in my journey, I’m focusing on deepening my work in oil painting portraiture, which has become one of the most recognisable and iconic aspects of my style.
I’m also happy to share that I’ll be exhibiting once again in Germany this May with a team I’ve been working closely with for several months—GalleryTalk—where my digital gallery is hosted. I was selected among the top 5 artists from around 900 participants and awarded for an outstanding exhibition early this year. They run a wonderful and visionary project, and I’d love to invite you all to check it out. As well I have plans to join some more international exhibitions throughout the year, primarily across Europe.
Alongside my traditional work, I’m exploring ways to bridge the physical and digital realms by integrating blockchain elements into select pieces. It’s a quiet but intentional step toward creating new pieces. I’m excited to start developing artworks that speak to the Web3 community.
BD: Where can the public find your work at the moment? How can people interested acquire your art?
K: You can currently find my work exhibited at a lovely coffee shop in the city centre of Brno, located at Dominikánské nám. 685, where I love connecting art with everyday spaces and local communities.
Beyond that, my official website showcases a broader selection of my paintings, while my digital gallery hosted by GalleryTalk offers a curated collection of artworks in an interactive experience— including select pieces also exhibited in Munich.
In addition to my core collections, I create custom artworks upon request. These commissioned pieces are deeply meaningful—portraits, symbolic themes, or color stories crafted to reflect your vision, with my help in bringing them to life.
