Somewhere between the places we know and the places we dream of, Sofia creates her own worlds.
Rooted in real architecture, landscapes, and memories—from the European streets of Spain to the Art Nouveau details she discovered in France—her paintings begin with something familiar, then slowly drift into something imagined. By blending reality with fantasy, Sofia transforms recognizable places into dreamlike spaces filled with nostalgia, wonder, and possibility.
In this interview, Sofia shares how she combines what she has seen with what she imagines, creating paintings that invite us to wander somewhere between reality and dreams.
Where Wonder Begins
Q: What first drew you to creating whimsical and fantasy-inspired art?
A: I’ve always been drawn to creating places that can feel otherworldly, while still feeling like home at the same time. I believe fantasy let us dream while awake, and see beyond what is right in front of us, so it has always been a big source of inspiration for me.
I wanted to explore adding surreal and fantastical elements to my work because I feel the world could use more whimsical, saturated colors: something joyful to balance the challenges of everyday life and help us reconnect with places where anything feels possible.
When I first took art courses, I was taught to draw and paint realistically, using subdued colors and trying to represent reality as closely as possible. I found my own voice by doing almost the opposite. I became fascinated with creating whimsical, fantastical, colorful worlds that could transport the viewer somewhere beyond reality.
I wanted to explore adding surreal and fantastical elements to my work because I feel the world could use more whimsical, saturated colors: something joyful to balance the challenges of everyday life and help us reconnect with places where anything feels possible.
When I first took art courses, I was taught to draw and paint realistically, using subdued colors and trying to represent reality as closely as possible. I found my own voice by doing almost the opposite. I became fascinated with creating whimsical, fantastical, colorful worlds that could transport the viewer somewhere beyond reality.
Q: When did nature begin to play such an important role in your creative world?
A: I find nature to be a source of inspiration everywhere I go. When I started painting realism to practice my skill, I found such a peace and quiet in nature that felt almost like the wisdom of the world in each life, plant, and animal, so I felt truly connected to nature from a beginning, and I wanted to capture the beauty of it in every piece, while giving to it my own personal touch. To me, nature carries something wise and hopeful, and capturing its unique character in art is an endless challenge. I began as a plein air artist (painting directly from life on site) and that experience profoundly shaped the way I see nature. Painting outdoors makes you slow down, observe more carefully, and appreciate the world around you in a completely different way.
Q: What first attracted you to gouache?
A: Gouache has always been my favorite medium because it is so versatile! I began painting environments by watching Studio Ghibli movies and by copying their whimsical backgrounds while I was in middle school, and through research I learned that one of the mediums they used to create the environments in those movies was gouache, so I got my very first gouache set, and I started practicing by replicating backgrounds from Kiki’s Delivery Service or My Neighbor Totoro. This developed my love for the medium from an early age. From there, I became so used to how easy gouache can be to paint with, because you can always reactivate it with water, like watercolor, but it is more forgiving. Even though I have always been an acrylic painter, gouache will always be my true love.
It also is so easy to clean and works wonderful with acrylic makers, so it became my to-go-to medium! It is no coincidence that the original Disney movies also used gouache for their background painters.
Q: Where do your fantasy-inspired ideas usually begin? What kinds of things tend to spark an idea for a new painting?
A: Fantasy has a way of speaking for itself and whispering ideas to me when I least expect them. I have a very active imagination, and I’m always asking myself how I can make "ordinary" things (or things that we see often) more interesting. That is where many of my ideas begin: a bakery… but with cats and fairy wings. A pharmacy for fairies. An amusement park for mermaids. I love taking something familiar and giving it an unexpected, magical twist, something that makes us dream while looking at a painting. I’m also drawn to places that already feel magical in real life, especially libraries. Whenever I step into a library, everything feels enchanted. I love imagining the stories hidden within those walls, and that sense of wonder often inspires my paintings.
Sometimes, although it may sound intangible, I feel as though the places and scenes I dream up already exist somewhere. I can’t always explain where an idea comes from or how it flows into creation. I simply know that once an idea arrives, I feel compelled to create it as soon as possible, almost as if it were a message from another world asking me to open a portal. :)
A: I honestly can’t say that I have one singular favorite piece, because I feel that all of my paintings are interconnected, as though they belong to a different world from ours. Each one tells a unique story that continues and expands into the next. However, one piece that helped me truly realize my style and define my voice as an artist was 'Diamond Waterfalls Castle'. It was my first artwork to resonate with a wider audience, and it helped me understand what it meant to bring a sense of whimsy into the world through my art. The piece represents so much of what I love about creating: it is ethereal and peaceful yet hopeful, filled with color, intricate details, and a distinctive light. I always hold the paintings that help me shape my style and discover my path especially close to my heart.
My sketchbook also feels like an important part of my storytelling. The whimsical paintings within it are perhaps the clearest expression of how I narrate fantasy visually. I like to think of each page as opening into a new painted world, with the illustrations connecting to one another like chapters in the same dream. Sketchbook artworks such as 'Cupid Witch' and 'Bridge Between Worlds' are part of that ongoing visual story.
Lastly, I would love to mention 'Dream Train Destination: Neverland', because it was the first artwork I ever expanded beyond the traditional boundaries of the frame. This became a new signature element in my art world: extending the painting onto and beyond the frame so that the scene feels as though it continues endlessly, rather than having a defined beginning or end. I love the idea that the frame is not necessarily a boundary, but a doorway into a world that continues beyond what we can see.
A: I find nature to be a source of inspiration everywhere I go. When I started painting realism to practice my skill, I found such a peace and quiet in nature that felt almost like the wisdom of the world in each life, plant, and animal, so I felt truly connected to nature from a beginning, and I wanted to capture the beauty of it in every piece, while giving to it my own personal touch. To me, nature carries something wise and hopeful, and capturing its unique character in art is an endless challenge. I began as a plein air artist (painting directly from life on site) and that experience profoundly shaped the way I see nature. Painting outdoors makes you slow down, observe more carefully, and appreciate the world around you in a completely different way.
Q: What first attracted you to gouache?
A: Gouache has always been my favorite medium because it is so versatile! I began painting environments by watching Studio Ghibli movies and by copying their whimsical backgrounds while I was in middle school, and through research I learned that one of the mediums they used to create the environments in those movies was gouache, so I got my very first gouache set, and I started practicing by replicating backgrounds from Kiki’s Delivery Service or My Neighbor Totoro. This developed my love for the medium from an early age. From there, I became so used to how easy gouache can be to paint with, because you can always reactivate it with water, like watercolor, but it is more forgiving. Even though I have always been an acrylic painter, gouache will always be my true love.
It also is so easy to clean and works wonderful with acrylic makers, so it became my to-go-to medium! It is no coincidence that the original Disney movies also used gouache for their background painters.
Q: Where do your fantasy-inspired ideas usually begin? What kinds of things tend to spark an idea for a new painting?
A: Fantasy has a way of speaking for itself and whispering ideas to me when I least expect them. I have a very active imagination, and I’m always asking myself how I can make "ordinary" things (or things that we see often) more interesting. That is where many of my ideas begin: a bakery… but with cats and fairy wings. A pharmacy for fairies. An amusement park for mermaids. I love taking something familiar and giving it an unexpected, magical twist, something that makes us dream while looking at a painting. I’m also drawn to places that already feel magical in real life, especially libraries. Whenever I step into a library, everything feels enchanted. I love imagining the stories hidden within those walls, and that sense of wonder often inspires my paintings.
Sometimes, although it may sound intangible, I feel as though the places and scenes I dream up already exist somewhere. I can’t always explain where an idea comes from or how it flows into creation. I simply know that once an idea arrives, I feel compelled to create it as soon as possible, almost as if it were a message from another world asking me to open a portal. :)
Q: Could you share your favorite piece of work at this stage and introduce it briefly?
A: I honestly can’t say that I have one singular favorite piece, because I feel that all of my paintings are interconnected, as though they belong to a different world from ours. Each one tells a unique story that continues and expands into the next. However, one piece that helped me truly realize my style and define my voice as an artist was 'Diamond Waterfalls Castle'. It was my first artwork to resonate with a wider audience, and it helped me understand what it meant to bring a sense of whimsy into the world through my art. The piece represents so much of what I love about creating: it is ethereal and peaceful yet hopeful, filled with color, intricate details, and a distinctive light. I always hold the paintings that help me shape my style and discover my path especially close to my heart.
My sketchbook also feels like an important part of my storytelling. The whimsical paintings within it are perhaps the clearest expression of how I narrate fantasy visually. I like to think of each page as opening into a new painted world, with the illustrations connecting to one another like chapters in the same dream. Sketchbook artworks such as 'Cupid Witch' and 'Bridge Between Worlds' are part of that ongoing visual story.
Lastly, I would love to mention 'Dream Train Destination: Neverland', because it was the first artwork I ever expanded beyond the traditional boundaries of the frame. This became a new signature element in my art world: extending the painting onto and beyond the frame so that the scene feels as though it continues endlessly, rather than having a defined beginning or end. I love the idea that the frame is not necessarily a boundary, but a doorway into a world that continues beyond what we can see.
Coloring the Imagined
Q: What do you enjoy most about working with gouache?
A: What I love most about gouache is how beautifully it sits between watercolor and opaque painting. It has the softness and luminosity of watercolor, but it also gives me the ability to build layers, cover areas, and make changes without feeling like I have ruined what is underneath.
For fantasy painting, that versatility is especially important to me because I’m constantly discovering the world as I paint it. I might begin with one idea and then decide that a color needs to change, a light source needs to glow more, or an architectural detail needs to be completely redrawn. Gouache allows me to react to the painting rather than feel restricted by my first decision. It flows with me. I also love its tactile quality. There is something very intimate about mixing the colors myself and building a world layer by layer. It feels almost like illustrating a dream.
For fantasy painting, that versatility is especially important to me because I’m constantly discovering the world as I paint it. I might begin with one idea and then decide that a color needs to change, a light source needs to glow more, or an architectural detail needs to be completely redrawn. Gouache allows me to react to the painting rather than feel restricted by my first decision. It flows with me. I also love its tactile quality. There is something very intimate about mixing the colors myself and building a world layer by layer. It feels almost like illustrating a dream.
Q: How do you approach color when creating a fantasy-inspired scene?
A: Color is the element that makes my artworks feel otherworldly and fantasy, because it created the whole atmosphere. I usually approach color emotionally rather than realistically. I ask myself first, “what do I want this place to feel like?”.
I might begin with a real location, a memory, or a particular atmosphere, but then I let my imagination take over. A sunset might become pink instead of orange, a waterfall might glow turquoise, or an entire landscape might be surrounded by lavender light. Lavender and purple are so important in my work because it has a natural ethereal feel.
I think color is one of the ways I create that balance between reality and fantasy that is so important to my work. There is usually something recognizable in the scene, but the colors invite you to believe that perhaps this place exists somewhere beyond our world.
A: Pink and purple have always felt magical to me. They can be dreamy and delicate, but they can also be incredibly vibrant and powerful. I think they naturally create a sense of wonder, which is exactly what I want my paintings to evoke.
When I build a palette, I usually start with one color that captures the feeling I want the painting to have. From there, I look for colors that can support it without competing with it. I work in triads: the main color, a supporting color of a similar shade, and a complimentary color to make it pop. I love creating palettes where unexpected colors live together, pinks with turquoise, purples with warm yellows, or deep blues against luminous pastel tones.
I also think about light almost as a character within the painting, and the lighting changes the way colors interact and are perceived, so the first thing I do before choosing the colors is to decide how dramatic the lighting will be.
I might begin with a real location, a memory, or a particular atmosphere, but then I let my imagination take over. A sunset might become pink instead of orange, a waterfall might glow turquoise, or an entire landscape might be surrounded by lavender light. Lavender and purple are so important in my work because it has a natural ethereal feel.
I think color is one of the ways I create that balance between reality and fantasy that is so important to my work. There is usually something recognizable in the scene, but the colors invite you to believe that perhaps this place exists somewhere beyond our world.
Q: Your paintings often feature vivid pinks and purples—what draws you to these colors? How do you build a color palette for a new painting?
A: Pink and purple have always felt magical to me. They can be dreamy and delicate, but they can also be incredibly vibrant and powerful. I think they naturally create a sense of wonder, which is exactly what I want my paintings to evoke.
When I build a palette, I usually start with one color that captures the feeling I want the painting to have. From there, I look for colors that can support it without competing with it. I work in triads: the main color, a supporting color of a similar shade, and a complimentary color to make it pop. I love creating palettes where unexpected colors live together, pinks with turquoise, purples with warm yellows, or deep blues against luminous pastel tones.
I also think about light almost as a character within the painting, and the lighting changes the way colors interact and are perceived, so the first thing I do before choosing the colors is to decide how dramatic the lighting will be.
Q: How do you balance bright colors while keeping a painting harmonious?
A: For me, harmony comes from giving every color a purpose. I love using very saturated colors, but I don’t want every part of the painting to compete for attention. I like it to feel whimsical and magical, without screaming or overbearing the viewer.
I usually choose a dominant color family and then introduce brighter complementary colors as accents. I also use softer, darker, or more neutral versions of those colors to create breathing room. That contrast helps the brightest areas feel even more luminous. Light and atmosphere also help tie everything together. Even when a painting contains many different colors, I like to imagine that they are all being touched by the same magical light. That invisible connection is what helps the colors feel as though they belong to the same world.
A: Artify brushes have been super helpful because of the variety of marks and details I can get when painting with them. My paintings often combine larger atmospheric areas with very small architectural, botanical, and decorative details, so having brushes that allow me to move between broad shapes and small details is really useful.
I especially appreciate being able to switch between brushes depending on what the painting needs. Gouache is such a versatile medium, and I like having tools that allow me to take advantage of that versatility, to make a fantasy environment feel alive.
Ultimately, the brushes become an extension of the way I build my worlds: starting with the atmosphere and gradually adding the little details that invite you to look closer.
I usually choose a dominant color family and then introduce brighter complementary colors as accents. I also use softer, darker, or more neutral versions of those colors to create breathing room. That contrast helps the brightest areas feel even more luminous. Light and atmosphere also help tie everything together. Even when a painting contains many different colors, I like to imagine that they are all being touched by the same magical light. That invisible connection is what helps the colors feel as though they belong to the same world.
Q: How has your experience with Artify brushes supported your gouache painting process, if at all?
A: Artify brushes have been super helpful because of the variety of marks and details I can get when painting with them. My paintings often combine larger atmospheric areas with very small architectural, botanical, and decorative details, so having brushes that allow me to move between broad shapes and small details is really useful.
I especially appreciate being able to switch between brushes depending on what the painting needs. Gouache is such a versatile medium, and I like having tools that allow me to take advantage of that versatility, to make a fantasy environment feel alive.
Ultimately, the brushes become an extension of the way I build my worlds: starting with the atmosphere and gradually adding the little details that invite you to look closer.
Beyond the Dream
Q: How do you see your fantasy art evolving in the future?
A: I would like to make my artwork increasingly narrative and filled with story elements, because my goal is to eventually connect these artworks into a book linked by a whimsical storyline that expands the lore of my art world. I’ve already started exploring this through my mail club, Magik Kosmos Club, where I write short stories connected to my paintings as a way of beginning to develop the characters, places, and stories behind the artwork.
I also want to continue pushing the idea of what a painting can be. I’ve already started exploring this with pieces like Dream Train Destination: Neverland, where I extended the artwork beyond the frame. In the future, I would love to experiment even more with paintings that feel immersive and endless, almost as though the viewer is discovering only one small glimpse of a much larger world.
Ultimately, I want my paintings to feel like pieces of a story that viewers can gradually discover and connect. I hope that, over time, the paintings, stories, and characters will become part of one larger whimsical universe.
Most importantly, I want to keep evolving without losing the sense of wonder that made me fall in love with painting in the first place. I hope my work becomes more ambitious both technically and narratively while remaining colorful, whimsical, and hopeful.
A: There are so many! I would love to paint more settings in enchanted forests and ruins, especially forests that feel ancient and alive, with hidden pathways leading to places you wouldn’t expect.
I also want to explore more unconventional magical creatures : not only the traditional fairies and mermaids, but creatures that I can invent myself and give their own personalities and stories. I love the idea of discovering a creature in a painting and wondering what its life might be like.
I’ve also been thinking about painting more scenes where different worlds meet: perhaps a train station connecting fairy kingdoms, a bridge between a human city and a fairy world, or a library where each story is alive.
I also want to continue pushing the idea of what a painting can be. I’ve already started exploring this with pieces like Dream Train Destination: Neverland, where I extended the artwork beyond the frame. In the future, I would love to experiment even more with paintings that feel immersive and endless, almost as though the viewer is discovering only one small glimpse of a much larger world.
Ultimately, I want my paintings to feel like pieces of a story that viewers can gradually discover and connect. I hope that, over time, the paintings, stories, and characters will become part of one larger whimsical universe.
Most importantly, I want to keep evolving without losing the sense of wonder that made me fall in love with painting in the first place. I hope my work becomes more ambitious both technically and narratively while remaining colorful, whimsical, and hopeful.
Q: Are there new parts of your imagined world that you would like to explore?
A: Definitely. There are so many places I imagine that I haven’t had the chance to paint yet. I would love to explore more fantastical cities, hidden villages, magical transportation systems, underwater worlds, enchanted forests, and places that combine architecture with nature in unexpected ways. I want to expand into elven cities, gnome libraries, fantasy pirates, and create recurring characters in my artwork so that the viewer feels as part of this world.
I’m especially interested in imagining how an entire fantasy society might function, where fairies go to school, where mermaids shop, where witches get their coffee, or where magical creatures might travel between different worlds.
I think I’m becoming increasingly interested not just in creating beautiful places, but in imagining the lives that happen within them.
I’m especially interested in imagining how an entire fantasy society might function, where fairies go to school, where mermaids shop, where witches get their coffee, or where magical creatures might travel between different worlds.
I think I’m becoming increasingly interested not just in creating beautiful places, but in imagining the lives that happen within them.
Q: Are there particular landscapes, creatures, or stories you’ve been wanting to paint?
A: There are so many! I would love to paint more settings in enchanted forests and ruins, especially forests that feel ancient and alive, with hidden pathways leading to places you wouldn’t expect.
I also want to explore more unconventional magical creatures : not only the traditional fairies and mermaids, but creatures that I can invent myself and give their own personalities and stories. I love the idea of discovering a creature in a painting and wondering what its life might be like.
I’ve also been thinking about painting more scenes where different worlds meet: perhaps a train station connecting fairy kingdoms, a bridge between a human city and a fairy world, or a library where each story is alive.
Q: What kind of creative project would be a dream for you to bring to life?
A: My biggest dream would be to create an entire immersive fantasy world through art: a huge project where paintings, illustrations, storytelling, and physical spaces could all come together. I have a fantasy novel in the works that I hope will become this dream project.
I am creating a series of interconnected environments where each painting reveals another part of the same universe, almost like traveling through a dream. I would love to take that concept beyond the canvas and words and even create something people could physically walk into, where they could discover the architecture, characters, creatures, and stories I’ve imagined.
I can imagine creating this fantastical illustrated book I already started and take you all with me for a journey of color and stories, that expands alongside the paintings, perhaps with an immersive exhibition where every room feels like stepping into a different painting. That would be my biggest dream come to life!
I am creating a series of interconnected environments where each painting reveals another part of the same universe, almost like traveling through a dream. I would love to take that concept beyond the canvas and words and even create something people could physically walk into, where they could discover the architecture, characters, creatures, and stories I’ve imagined.
I can imagine creating this fantastical illustrated book I already started and take you all with me for a journey of color and stories, that expands alongside the paintings, perhaps with an immersive exhibition where every room feels like stepping into a different painting. That would be my biggest dream come to life!
For Sofia, painting is not about choosing between reality and imagination. It is about discovering what becomes possible when the two meet.
Her dreamlike worlds offer more than an escape—they invite us to slow down, wander, remember, and imagine who we might become beyond the boundaries of the familiar.
Perhaps the most beautiful places are the ones that exist somewhere between what we know and what we dare to dream.
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3 comments
This is such a lovely interview✨️💖 I love hearing the stories behind the art!✨️
What a beautiful interview! ✨ I’ve been following your work on Instagram for quite some time, and I’m always so captivated by your art and the beauty in every piece you create. It’s wonderful to see craftsmanship and handmade art making a comeback. Your work is truly inspiring! 💖
What a beautiful interview! ✨ I’ve been following your work on Instagram for quite some time, and I’m always so captivated by your art and the beauty in every piece you create. It’s wonderful to see craftsmanship and handmade art making a comeback. Your work is truly inspiring! 💖