Get To Know… Brianna Fantis
A deep dive into all things ‘arts and ents’.
Words Indigo James // Image Art in Adelaide
Adelaide painter Brianna Fantis, a studio artist at Collective Haunt, creates layered psychological landscapes inspired by Jungian ideas of the ‘Persona’, ‘Shadow’, and ‘Self’. Using sawdust and natural textures, she gives shape to the mind’s terrain and the shadow figures that guide emotion. BTS’s ‘Map of the Soul’ album first sparked her interest in Jungian shadow work, inspiring her to bring these ideas to life on canvas. Brianna reflects on her process, the companions that emerge in her canvases, and the quiet breakthroughs that unfold mid-brushstroke
Tell us about your practice. What do you do?
My art practice is fuelled by material elements of painting, whether that’s implied texture or literal 3D differences – namely, sawdust, as it helps create a fantastic, natural rock-like texture. I funnel this textural fascination into what I call “psychological landscapes”, as the references to psychological theories, such as “Persona/Shadow/Ego” and Jung’s Map of the Soul, cannot be ignored once you know they’re there in my work.
How did you first become interested in psychological and Jungian ideas, and how do they influence your art?
During my time at art school, BTS began releasing albums inspired by Carl Jung’s Map of the Soul theories, and recommended Dr. Murray Stein’s writings for further context. I loved how figurative ideas could be explored through music, which inspired me to translate these concepts into painting. I developed a more personal interpretation the more I read. Jung believed life’s goal was to achieve a complete “Self” by balancing the conscious and unconscious through “Shadow Work”, valuing the journey over the destination. My work reflects this by capturing life midpoints, reflective states, and limbo pauses.
The figure often appears in your work – what does it represent for you?
My shadow figures are an intentional effort to bring life to what lingers just beyond peripheral vision, placing it at the centre. They help remind me that “Shadow Work” is never a lonely task, nor is reflection meant to be all-consuming. Instead, these figures act as comfort, externalising and compartmentalising emotions outside the body. Initially, my paintings featured a solitary figure supporting me as the artist. Over time, however, the figures now carry their own companions. In essence, these shadow figures serve as guides in a form of self-prescribed therapy.
Can you describe your painting process and how a piece usually comes together?
My psychological landscapes almost always begin with photos I’ve taken, though they transform completely by the final painting. I seek natural compositions that resemble gateways – cracks in pavement, cliff surfaces, or foliage concealing entrances. Since the “Self” is an ideology, these thresholds feel symbolic. Some works require detailed sketches or studies; others emerge directly on canvas. For landscapes, underpainting is essential; the layered depth makes them feel real while heightening the surrealist quality I aim for. The figures always arrive last.
What’s your favourite piece of art you’ve made, and why?
My recent self-portrait, “everyday everyday everyday everyday e v e r y d a y,” because it was created at a time where I felt overwhelmed by life outside of my art practice and needed to capture those emotions. Although, if I’m allowed to be pedantic, I’ll say that a current work in progress is my favourite piece right now. I am experimenting with obvious textural concept clashes, and I believe I’ve had a breakthrough with this piece.
What is your earliest memory of making art?
I have a perfect photo of my earliest art extravaganza. I cannot remember creating this at all, but I am so joyful that this was captured. I was maybe 4-6 years old.
Follow Brianna Fantis’ creative journey via @zfantisart.
