10 Questions with Silvia Gallart Sin

Silvia Gallart is a Swiss-Spanish graphic designer and artist based in Zurich, Switzerland. After studying graphic design at Eina Escola de Disseny i Art Barcelona, she started her career in 2002 as an art director assistant in some agencies and as a graphic designer in some companies in Barcelona, Zurich, and Aarau. Since 2015, Silvia has worked as an independent graphic designer and artist. Her style has evolved from hand drawings and digital & analog collages to vector art, mixed media, and digital collage art. Silvia sees creativity as a way of integrating different fields into one, for example, graphic design, vinyl foil art, and collage art. She has been influenced by literature, philosophy, contemporary art, and pop art. Her work stands out for its high conceptual quality and complexity and has been recognized by the art scene in Switzerland. She has mainly exhibited in Zurich, Zug, Lucerne, Chicago, London, and Barcelona.

www.silvia-gallart.com | @silviagallart

INTERVIEW

Can you share how your journey as a graphic designer and artist began? What inspired you to pursue this path?

For as long as I can remember, I have been deeply connected to the world of art and creativity. As a child, I would drawcompulsively, sketching whatever fascinated me—from early childhood cartoons like Dragon Ball to later designing my own fashion collections. Over time, my artistic interests expanded, and I developed a passion for literature, becoming an avid reader of novels and poetry. This love for storytelling and writing eventually led me to pursue journalism.
I was born in a small town, unaware of what graphic design was, but I always dreamed of living in a big city and leading an independent, creative life. During college, I frequently traveled to Barcelona to see my favorite musicians perform, and each visit reinforced my desire to be part of its vibrant cultural scene.
A defining moment in my artistic journey came when I was living in Barcelona, studying journalism, and staying at a student residence. There, I met a fellow student who was studying graphic design. She often spent time drawing, and through her, I became intrigued by the field. Inspired by her creative path and the possibilities graphic design offered, I decided to switch disciplines the following year.
Ultimately, I was searching for something that blended creativity with a commercial edge, and graphic design turned out to be the perfect fit. With my growing fascination with the discipline, I took the leap—and I’ve never looked back.
Moreover, my passion for visual expression was also shaped by a unique way of perceiving the world—I instinctively associate colors with letters, music, days, and seasons. This phenomenon, known as chromatic synesthesia, heightened my sensitivity to aesthetics long before studying.

Your work combines different fields like graphic design, vinyl foil art, and collage art. How do you integrate these disciplines into your creative process?

I am a naturally curious person, which drives me to learn new techniques and experiment with different media. Graphic design has profoundly influenced the way I approach my artistic work, as my creations are mostly digital. Even when I incorporate analog elements, such as drawings, they are often processed digitally afterward. The knowledge I gained while studying graphic design is reflected in my work—I meticulously manage colors, carefully prepare prints, and ensure a polished final presentation.
"Collage" is at the heart of my creative process. To me, creation is mainly about bringing together elements that wouldn’t naturally or necessarily be connected—the relationship between them is something I define myself. I believe this concept is central to the art of collage. For example, I am currently working on a series inspired by Switzerland (“Face‘map“), where I use its cities and towns as the foundation to create maps that take the shape of human faces.
My experience with vinyl foil started by chance. I was initially looking to create a large sticker when someone recommended a print shop specializing in advertising materials such as neon lights and vinyl. My first project using this medium involved covering the front wall of a shipping container with vinyl. This led to an even more ambitious project—covering the facade of Dynamo, a well-known cultural center in Zurich. The vinyl installation remained in place for nearly three months, leaving a strong impression on visitors.
Today, I work with vinyl as an alternative technique to high-quality fine art printing. By layering multiple sheets of vinyl, I create depth and texture, adding a 3D quality to the original print. I am particularly keen on working with special finishes such as gold, mirror, and neon, which bring vibrancy to my pieces.

How has your style evolved over the years?

Since the beginning of my career, color has been my primary mode of expression—red, orange, yellow, violet, green, and blue are the foundation of my palette. This vibrant chromatic language unifies my work; if you place one piece next to another, you can see a clear visual connection running through it. My approach to form is equally diverse. Some works have a raw, textured, rock 'n' roll quality, while others are the opposite—clean, vector-based compositions with sharp lines. At times, these two contrasting elements intersect within a single piece, creating a dynamic interplay between structure and spontaneity. This eclectic style allows me to communicate with the audience in an immediate and direct way, yet, over time, subtler nuances begin to reveal themselves.
And I can say my style has evolved naturally, shaped by curiosity, experimentation, and an openness to change. I never set out to establish a single, rigid aesthetic; rather, I see my work as a continuous exploration of form, color, and meaning.

You’ve mentioned being influenced by literature, philosophy, and pop art. Can you tell us more about how these inspirations shape your work?

Pop art has definitely influenced my work, as my art is often categorized as pop art, although I don’t particularly like labels. The way I approach my work, the themes I choose, and the motifs I incorporate—elements that are present everywhere in our daily lives, shaped by a constant flood of images regardless of time or place (such as Bowie, Grace Jones, emojis, metro lines and maps, flags, countries, antiques, etc.)—reflect this influence. In other words, I use popular culture as the foundation of my work.
Literature and philosophy also influence my art, albeit in an indirect way. They shape how I approach life both as a person and as an artist.

Your art often explores the connection between high and low culture. How do you approach this theme in your creations?

I am interested in the intersection of high and low culture and how these influences shape a language.  I incorporate references from pop culture, advertising, design and text or type while maintaining a conceptual foundation that elevates these elements beyond their conventional contexts. I strive to blur the boundaries between what is traditionally considered "high art" and "popular culture".

What role do concepts like coincidence, similarity, and synchronicity play in your work? Can you share an example where these ideas were central to a piece?

The concepts of coincidence, similarity, and synchronicity play a significant role in how I mix and associate ideas, as well as in the timing of their creation. These elements often shape the direction of my work, leading to the birth of concepts that feel both personal and relevant to the world around me.
For example, "Stop Global Warming" (2018) was a series of posters I developed during one of the hottest summers in Zürich, reflecting my growing concern for climate change and the synchronicity between the weather and the global environmental crisis. Similarly, my "Isolation" (2020) mask series was created to express my personal experience during the COVID-19 pandemic, capturing the sense of confinement and introspection that many of us faced during that time.
Another example is the David Bowie "Thanks for the Music" project, which I created mostly after his passing in 2016. The timing of this piece, coming shortly after his death, was a moment of synchronicity for me—grieving the loss of an icon while reflecting on his profound influence on music and culture. It was both a tribute and an exploration of his impact on my own creative journey.

You’ve exhibited in cities like Zurich, Chicago, and Barcelona. How has showing your work in different cultural contexts influenced your artistic perspective?

I began working and exhibiting in Barcelona soon after completing my studies. What attracted me most to the city was its vibrant color palette and multicultural energy—elements that resonated deeply with my artistic sensibility. In 2005, I moved to Zurich, where I initially worked in advertising agencies while also adapting to a new culture and learning German. At first, I found the artistic style in Switzerland quite different, with a more restrained and cooler color palette compared to the warmth and richness of Latin American and Mediterranean aesthetics. However, over time, I immersed myself more deeply in the local art scene and discovered a thriving community of Spanish-speaking immigrant artists. I have also seen how cultural influences have gradually intertwined, shaping the visual landscape.
One of the most enriching experiences came during the pandemic, when I had the opportunity to participate in a group exhibition in Chicago (“Locus“ curated by Whitney la Mora). The challenge was to create a piece based on a poem assigned to me at random, which pushed me to experiment in new ways and explore a more conceptual approach. Beyond the creative process itself, this experience allowed me to connect with artists and audiences across the Atlantic.

As someone who has worked both independently and in agencies, how has this dual experience shaped your approach to creativity?

Working as an employee for many years has helped me hone my craft—whether in agencies, studios, or other environments. After an illness, I began working independently in 2015 from home, taking on graphic design projects for local businesses while also balancing this with my personal art practice.
As a graphic designer, my relationship with creativity spans the entire spectrum, from commercial to the most alternative forms. For me, what matters most is quality, whether the work is commercial or not.

Looking ahead, are there new techniques or themes you’re excited to explore in your upcoming projects?

Rather than seeking entirely new themes, I want to delve deeper into the ones I have already explored. My focus is on expanding and refining existing concepts or even merging different themes to create new connections. I believe there are infinite possibilities within this approach.

What do you hope people feel or think when they view your art? What’s the most rewarding reaction you’ve received from an audience?

I hope my art resonates with people and creates a sense of connection. If I can bring a smile to someone's face or evoke emotions through my work, then I feel I have fulfilled my purpose as an artist.
One of the most meaningful experiences that happened to me was meeting Greg Gorman, the official photographer of David Bowie, who not only recognized my work but also allowed me to draw inspiration from his iconic photographs of Bowie.  It all started when I sent him an email, sharing my artworks and asking for permission to use his images as a reference. To my surprise and delight, he replied after reviewing my work and graciously granted me permission—without any fees. Afterwards, I had the opportunity to meet him in person last year at Petra Gut Gallery in Zürich, where we had a conversation with him.
Another deeply rewarding experience was curating my own exhibition at the Dynamo Cultural Center in Zürich. I received financial support to develop a show in one of the rooms, where I took on the role of both artist and curator. The exhibition, titled "Connect – Make the Internet Real," explored themes related to the digital world and online communication. I carefully selected artists whose work aligned with the subject, creating a thought-provoking and cohesive experience.

Artist’s Talk

Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.