Helena Sophia Adam

My preferred artistic medium is…
As a costume designer and scenographer, I work with various artistic media that interweave with one another. Materials and textiles play a central role—fabrics, colors, textures, and forms are essential building blocks of my work. Equally important is the space itself, both its existing features and the creative elements that are added to it. Craftsmanship and construction are inseparable from my creative process—whether through sewing, draping, modeling, or building. Additionally, I also work digitally on collages, plans, and 3D models to develop and visualize ideas.

My art in three words…
Craftsmanship, experimentation, and accessibility.

A recurring theme in my work is…
…engaging with what already exists. This is a method I learned during my studies called as found. It essentially involves consciously and radically perceiving everyday life and everything one encounters, filtering out what genuinely interests you. This process allows the ordinary or mundane to be rediscovered, while also honing the ability to quickly and attentively observe things.

I draw Inspiration for my art from…
…my everyday life. Most of my ideas for colors, shapes, and materials come from here. After that, the working process begins, during which I collage what I’ve found. This also describes the initial steps of my approach: I combine both materials and the inspirations and discoveries I’ve gathered into collages.

When it comes to materials, it’s important to me that…
…they are reusable. In practice, creating works or using materials that are entirely recyclable is often a challenge. Nonetheless, I always take the time to consider alternative options—especially whether I can use something already in circulation or previously utilized. For example, in a project last fall, I made beanbags for the Musiktheatertage Wien. I thought a lot about what to fill them with. Polystyrene beads are the conventional material, but if they end up in the wrong cycle—which can happen easily due to their mobility and size—they are hardly sustainable anymore. I researched extensively and considered alternative filling materials like straw, sawdust, fabric scraps, or even shredded old sneakers. Ultimately, I still opted for polystyrene beads because, in terms of allergies, moisture, storage, and public use, they were the most practical solution. Nevertheless, reflecting on sustainable options and reuse remains a central part of my work.

My greatest artistic achievement so far…
If success is defined as presenting one’s work to a wide audience, then it would be my first independent production in the fall at Tanzquartier here in Vienna. I completed this project in collaboration with a colleague, Gabriela Neubauer, with whom I’ve worked closely for many years. However, I define artistic success differently: for me, it means being able to open up access to my work for viewers, to inspire something within them, and ideally, to spark a dialogue.

The feedback that influenced me the most…
It’s not easy to pinpoint one specific piece of feedback, but in general, feedback that shapes me often comes from people in similar stages of their careers. Sometimes this is particularly exciting because it allows for informal and candid questions and discussions—being honest without much pretense. I truly value this type of exchange and try to seek it out regularly.

If I could give advice to other emerging artists, it would be…
…to stay engaged in exchange. I think this is incredibly important, as it’s easy to feel isolated, especially at the beginning. Exchange helps overcome blockages or obstacles, and I find it enriching in general.

The transition from studying to artistic independence means to me…
During my studies, independence was already required, but now there’s much more administrative work involved. This changes the artistic process, as a new aspect is added: it’s now about making a living, not just having the luxury of experimenting. That’s why I find it especially wonderful to be working here with four others—and in the studio program, there are even more of us. The exchange with others who are in a similar phase is incredibly valuable.

My studio in the Creative Cluster is a place where…
…I experiment and reorient myself. It was actually a bit challenging for me to settle into a new work environment. I think this is partly because, during my studies, we enjoyed an incredible luxury, especially in terms of material sourcing. The studio house had so many materials left behind or discarded by others that finding materials was always relatively quick and straightforward. Here, the search for materials feels like a completely new challenge.

An artistic idea or project I’m excited to realize…
At the moment, I’m working on curtains or room dividers for an art and culture center in Sterzing, South Tyrol. I’ve been asked to design curtains and dividers that block out light and dampen sound. I’m excited about this project because it combines many of the aspects I love to work with: on the one hand, the craft and sewing, and on the other hand, textiles, which for me are one of the most accessible and personal media. I also find it fascinating that this project involves not only creating an artwork but also fulfilling functional requirements.