Oda Jaune (b. 1979, Bulgaria) is an artist whose practice spans painting and installation, exploring a poetic and fantastical world of the subconscious. Her work is characterised by dreamlike imagery, fluid forms, and a psychological intensity that blurs the line between beauty and unease. Trained at the Kunstakademie Düsseldorf, she developed a distinctive approach that challenges traditional figuration. Now based in London and represented by Galerie Templon in Paris and Brussels, she continues to push the boundaries of painting with visceral, thought-provoking compositions.

Our members had the privilege of visiting her London studio in January for a preview of her latest body of work before its debut in Oil of Angels (8 March - 10 May), her solo exhibition at Galerie Templon in Paris. Join us in conversation with Oda as we find out more about her practice and the inspirations behind her work.

Your current exhibition at Galerie Templon Oil of Angels explores the theme of unconditional love. What drew you to this subject, and how does it manifest in your work?

The idea of unconditional love has always been a central theme in my work and in my life. I have received it in the most beautiful way and have given it generously throughout my life. The more I grow, the more I believe that there is nothing more precious, holy, or beautiful that exists between human souls.

Last year was incredibly challenging for humanity on many levels. The two wars evoked in me a profound need to believe in and turn toward the light—to keep faith in the goodness of the human soul despite everything. With all my strength, I managed to hold onto this belief, and it empowered me to give form and materialise my faith. As I moved through the days and months, absorbing the constant news and horrific images bearing the brutal realities of war, I felt a muted tension growing around me—a simmering rage rising to the surface, an omnipresent sorrow, a deep division in the world. I knew once again how important it was to paint.

The world’s violence filled me with profound pain. I could not accept the role of a passive observer, nor did I want to aggress or judge any side. Confronted with harrowing facts, I sought to open another door—the only one that could lead to goodness: the door of pure, unconditional love, which humans are capable of.

I deeply believe in the power of images. For me, to see is already to confer existence. The language of images was the only language I felt could offer me a chance—my only power to change reality. This show is my response to the state of the world, right here, right now.

Your work often plays with contrasts such as softness and brutality, intimacy and vastness. How does this duality reflect your understanding of love?

You are right, I do see contrast in almost everything. There is a lot of contrast in love. Even in that first example—the first love we ever experience is the one we receive from our mother, one of the most beautiful experiences in life. But if you think about it, the way we come into the world, the act of giving birth and the act of being born, is filled with pain. The pain we cause her and our own pain in taking the first breath.

You might see this idea in M for Mother, a work that embodies this feeling. But most of all, it pays tribute to the one who gave us life, and within it, one discerns the presence of an angel, a luminous, protective figure.

This painting marked a turning point. I had often painted angels, yet this time was different. I felt compelled to paint them; it had become an imperative need.

Your compositions often explore surrealism and the subconscious. How do you navigate the space between reality and imagination in your practice?

According to estimates, only 5% of human brain activity is conscious. The remaining 95% takes place subconsciously, and not only do we have no real control over it, but we are also unaware that it is happening.

For me, it is an endless sea full of the unknown, treasures, wisdom, and truth. I absolutely love diving deep into these waters.

What is your proudest career accomplishment to date?

I wonder why it feels difficult answering this question... I suppose it’s because of these few words: "proudest", "career", and "date".

Probably because I believe pride can be very dangerous for an artist, and I run away from it whenever I sense it’s around the corner. A career is also quite a two-dimensional understanding of the journey of an artist. Can it be measured by the shows one has, the visibility one receives, the collections one’s work belongs to, the prices achieved on the art market? Probably you could do that, though I don’t think it’s the entire truth. The real place in the history of art and achievement, I believe, can only be certain when hundreds of years have passed, and then, at a certain point, one would know if that oeuvre is of true value.

And here we come to "up to date" and the "now"...

But personally, for me, the moments I was most happy were the ones when I sensed that it genuinely touched people’s souls. Because of this, I can say I feel a lot of gratitude, and I am aware of how incredible my journey as an artist has been so far.

Are there any emerging artists you're particularly drawn to?

To tell you the truth, I am most drawn to the work of my daughter, Ida Immendorff.

At just 23 years old, she is creating an incredible universe that is beginning to take shape. It has been a fascinating and completely unpredictable discovery for me. I feel overwhelmed by her work, which combines elements of performance, the sensuality of material and textile, and the form of installation.

If there was one message or feeling you hope people take away from your work, what would it be?

If there is only one message, then it is this: everything is possible.