EXTENDED POST: MKH Talks to Giana Amantea

I first discovered Giana Amantea through TikTok videos of the coolest hats I’ve ever seen. Upon further inspection, her visual storytelling style became clear. The things she creates might differ, but the visceral, colourful, and singularly expressive way her artistry manifests hovers over her work like a bright cloud.

From her paintings to her sculpted headpieces made from recycled materials, she is transforming multi-disciplinary art into a physical experience. Through this vivid process, we get to see totems of whimsy and appreciate the beauty of slow and detailed creation.

Naturally, we have to tell you more about this amazing artist. So we did another cute little yap session, with the full Q&A below for you to enjoy.

MKH: What do you consider to be the main source of your creativity?

Giana: I feel like there are so many ways I could answer this question. The most honest answer is that my creativity comes from a persistent internal monologue that requires me to turn something as simple as word association, a thought-provoking conversation, or a fleeting glimpse of an intriguing visual into a weeks-long project.

An idea will lodge itself into my mind and keep me up at night because I have to see that fragment of reality transform into the exaggerated vision I’ve imagined. I hold onto it until I can make it real.

The external world can often feel lacklustre. Something in me, and I think for many other creatives, compels me to alter it and make it more interesting. Creativity for me is an attempt to reshape reality into something that feels more vivid, or simply more curious than what I first encountered.

MKH: Are there any consistent visual or literary references that keep inspiring everything you create?

Giana: I believe that all art, like almost everything else, is derived from something that already exists. We absorb influences, reinterpret them, and create something new from them. That said, I tend to move through interests fairly quickly, and not many visual references hold my attention for very long.

The masks/hats I’ve been making are one of the first bodies of work, outside of more traditional practices like oil painting, that have sustained my interest. I think that’s because they bring together so many things that consistently inspire me. They combine sculpture, fashion, character design, painting, and found objects into a single form, allowing me to pull from multiple disciplines at once.

Looking back, I realise that one constant has always been my fascination with the human body and the ways we choose to decorate it. The ways we alter and adorn ourselves can communicate autonomy, identity, cultural heritage, historical references, conformity, or acts of defiance. They’re deeply layered gestures.

It took studying art history, along with many years of making work, to understand where that fascination came from. I’m aware it’s far from a unique interest. Our faces and bodies are central to how we’re perceived and how we construct identity. I think that’s why I keep returning to them.

MKH: Your hats are truly incredible! Why did you choose to focus on creating headpieces? And what does the process of creating them look like?

Giana: First of all, thank you so much! It’s funny because I’ve only really been focusing on them for less than a year, and they’ve existed alongside my painting practice rather than replacing it.

I think what draws me to them is how tangible they are. They provide a nice balance during the slower, more iterative process of painting. When I’m constantly working and reworking the same section of canvas, a headpiece offers almost immediate feedback.

I can sketch an idea and have a physical form in front of me within a few hours, whereas a painting can feel unresolved until it’s completely finished. In a way, they satisfy that desire to see an idea materialise quickly.

The process usually starts with something that catches my attention. Lately I’ve been fascinated by wildlife photography, as well as fashion and furniture that borrow forms and structural ideas from dinosaurs. Once an idea takes hold, the headphones go on, and I disappear into the process.

I spend months collecting discarded materials and bits of trash that might eventually become part of a piece. I begin by building the structure with masking tape, then reinforce it with paper mache.

After that, I use joint compound to unify the surface before sanding it down until it has that smooth, manufactured finish we’ve come to associate with polished objects. Finally, I paint the piece and seal it with varnish or polyurethane so it will last as long as possible.

I like that the finished work often disguises what it’s actually made from. Something that began as discarded material is transformed into an object that feels intentional.

MKH: Your paintings are so visually distinct. Why did you choose to create art in this specific style?

Giana: I honestly feel like my painting style is constantly evolving, so it wasn’t so much of a conscious choice, more of something that developed over time. I’ve always been drawn to portraiture since I was young because there was always something so magical about being able to render a person from a blank 2D surface.

My use of bold colour came from both practicality and preference. When I first started painting frequently (around 10ish), I hated mixing colours, so bright paint from the tube became part of my visual language.

Over time, I realised those were also the works I was most drawn to in galleries and museums. Though I am more well-versed in colour theory at this point in my life, I do still try to avoid overly muted colours as painting feels like a unique opportunity to create something more vivid.

MKH: Everything you create is so singular and has such a colourful personality to it. How do you approach starting each of these artistic projects?

Giana: I think my brain moves pretty fast, and I’m usually onto the next idea before I’ve finished the last one. I like to imagine that everything I make exists in the same universe, but each piece also reflects where I was at that moment in my life.

Often late at night is when I get my best ideas. Sometimes I start immediately, and other times I let the idea sit until it feels ready. From there, it’s a mix of planning and experimentation. I spend time playing with materials, seeing what works, and following my curiosity.

Making art isn’t always enjoyable. Sometimes a problem will frustrate me for days, but once I find my rhythm, I completely lose track of time. That’s the feeling I keep coming back for.

After spending years working in restaurants, museums, being a student, and tending to the upkeep of living, I've realised that making art is the one thing that consistently makes me feel like myself. If I don’t make time for it, I feel like I’m missing my favourite part of who I am.

MKH: Is there another artistic field you want to explore? What is it?

Giana: I want to do it all. I already write songs for the band I’m in, although I like to keep that separate from my independent art practice because it’s collaborative in a way that my visual work isn’t. They fulfil different creative needs.

Beyond that, I’d love to further explore installation art, write a screenplay, and even try acting. Performing with my band already feels a bit like performance art because it allows me to step into an alter ego. I never want to limit myself to one medium. I think every creative discipline has something to teach me, and no matter what it is, it all feeds back to the way I make art.

Follow @giana.jpeg on IG and see more of her creative journey!