At Vestara, the woman is never alone, but surrounded by violins and cellos. This connection is by no means coincidental, but has its roots in a complex human history.

At the end of the Middle Ages and during the Renaissance, stringed instruments – such as the viola da gamba – were regarded as an extension of the human voice, especially the female voice. Caught between religious rejection and aristocratic passion, the instrument constantly oscillated between the forbidden and the sacred. Vestara draws on this duality to explore the female act at the heart of violin-making workshops.

In Vestara Psod’s work, the connection between the body and instrument making is rich in symbolism. Let’s take a closer look:

• The shape: The delicate curves of the violin correspond to those of the female body.
• The space: The violin maker’s workshop becomes a place of transformation, both physical and introspective.
• The voice: The instrument not only imitates, it also reveals the soul and evolving consciousness of the artist.

In this way, each painting tells a story in which music, craftsmanship and the human form come together to create a powerful visual harmony.

Because yes, it really is about cooking. Why? Here is Vestara’s approach:

Vestara Psod’s technique is as meticulous as that of a craftsman. She works on fine cotton fabrics stretched over pine frames and composes according to the traditional method of squaring.
Her process resembles true alchemy:

1. The impasto: She begins with oil paints and bold brushstrokes to give the motif body.
2. Modelling: She then brushes the bodies before setting to work with surgical precision.
3. Finishing touches: Glazes with rubbed-in pigments, oil pencils and airbrush accents complete the work.

As she herself says, Vestara “cooks” when she paints. She mixes different techniques to create a unique expression of her creativity.

As you can see, Vestara’s painting requires considerable work and technical expertise. The fact that Vestara only produces one or two paintings per month becomes almost a manifesto in itself. For the gallery, it is very beautiful: not an abundance, but a regular appearance. A work like a season. A breath of fresh air.