10 Questions with Gena Valentine

Gena Valentine (known to the art world as “Gynx”) is a mixed-media sculptor hailing from Oak Lawn, Illinois. Drawing inspiration by romanticizing the mundane of everyday life and the haunting beauty of physicality, Gynx crafts pieces that challenge perception—inviting audiences to either enjoy or hate their creations.

Despite early scepticism from mentors and gatekeepers of the artistic scene, she carved a path that defied expectations. Graduating magna cum laude, Gynx quickly cemented her place in the contemporary scene, gaining international recognition through exhibitions, features in major art publications, and commissions. Her sculptures serve as both a statement and a rebellion—each one imbued with the spirit of persistence, proof that art flourishes most when fueled by defiance.

@cl0wyne.t0wne

Gena Valentine - Portrait

ARTIST STATEMENT

“I create because it's fun. That's it—no deeper meaning, no grand artistic theory, no profound exposition. There's something freeing about working with mixed media, blending textures and materials just to see what happens. Sometimes, the result is striking, and sometimes, it falls apart, but that's all part of the thrill, the sheer unknown factors that can make or break a piece. In a way, it's like being a chemist, but for art!

I give a lot of my pieces these grandiose titles because it's human nature to crave some sort of reason why art exists. While, at times, I do genuinely make work to speak out on injustices, mental health, and social issues, more often than not, I let others attach their own interpretations to my work. Nobody's inherently right or wrong in what they see within my creations. Art's fickle and subjective, after all.

For me, sculpture is a playground. I embrace experimentation, chase curiosity, and let the process guide me rather than a strict concept or prompt. My art isn't about proving a point—it's about the pure satisfaction of making something that previously didn't exist. I believe the world needs more of that. Less master imitations or scrounging for the title of "most thought-provoking artist" and more creation for the sake of creating.”

— Gena Valentine

INTERVIEW

Let's start from the basics. What first inspired you to begin creating mixed-media sculptures?

If I'm being honest, the pandemic back in 2020. I started out making mixed media sculptures out of thrifted stuffed animals as a joke to keep myself busy being stuck indoors all day. I actually had no desire to pursue anything sculpture-related at the time. I was going to school to be a painter surprisingly.

How do you choose the materials you work with for each piece?

Material selection all starts out with having an idea for my sculptures. It all depends on how I want each component to look separately before they're all put together. Naturally, I stick to materials I'm well versed in, but on occasion, I'll dabble in one or two things I catch out of the corner of my eye on my weekly supply runs.

Detachment of Self & the Death of Identity, Sculpture, 2 x 6 in, 2025 © Gena Valentine

Can you describe what draws you to "romanticizing the mundane" in your art?

I believe being a former preschool teacher has helped me significantly with this. The imagination of a child and their ability to just see whimsy no matter where they go or what they do has really opened my eyes to such a philosophy. Why, as an adult, should we stop enjoying life? We are in charge of the way we go through each day; why do we actively choose bleak outlooks and dull perspectives? It's one thing to understand that the world isn't an entirely great place, but it's another to let that affect you in such a way that you lose any and all senses of joy.

How did you stay motivated in the early days when you faced scepticism?

Spite. Seriously though, I think being talked down to, being told how my work should be, and that the reason I was even in my major was for the marketability of my art were all driving forces that kept me going. I've been told by a handful of professors that sculpture is a very "blue-collar, male-centric" field, and the only way to succeed was pandering to that demographic alone. I kept going because I simply didn't believe such a gorgeous art form like sculpture should be subjected to gatekeeping and classless sexism.

What do you enjoy most about the process of experimentation in your work?

Learning something new about the materials and myself. Sculpture is very hands-on, and I love to get my hands dirty. That's both a good thing and a bad thing. Good, because worrying about being clean and pristine in the thick of my work would drive me crazy. Bad, because sometimes the materials I use remind me very quickly that I am made of flesh and flesh does not like certain things when it comes in contact with it. It's all about research at the end of the day.

You mentioned art feels like being a chemist. Can you share an example of a time an experiment totally surprised you?

When making my pieces, "I Call Her Sweetness" and "Drag Sunday? Drag Sundae.", I learned that adding Triple Thick to spackle significantly reduces cracks and gives a very smooth, buttercream frosting texture, but it breaks down the thicker integrity of the spackle, so it will slide off rounded surfaces and lose any detailing from a piping tip.

When you do create work with a deeper social message, what issues are most important to you?

Issues pertaining to femininity/feminism, sexuality, and religious studies. At times, I will delve into politics, but I try my best to keep away from that subject entirely unless I know I need to speak up.

What's one piece of advice you'd give to other artists who feel pressured to "explain" their art?

Relax. Just relax. I know how that sounds, but seriously, stay calm. The worst thing you can do is panic and start clawing at different explanations because you're going to get in your own head and try to tie everything together, and it's not going to make any sense. In the end, you're going to be completely detached from your work and feel as if it isn't your own anymore. When you get an idea for a piece of art, start by asking yourself why you want to create it. What inspired the idea? A social justice issue? A personal issue? Maybe you really wanted to see if you could do it? The production of art isn't always for some over-the-top, bleeding heart, explanatory speech. Sometimes, you just want to make something because you just want to make it and that is 100% okay.

My Baby, My Baby, Ceramics, 14x7 in, 2024 © Gena Valentine

Looking ahead, how do you see your work evolve in the future? Do you have any new medium or technique you would like to experiment with?

By going bigger, for sure. I see so many sculptures that are several stories tall, and it's such a daunting idea to evenimagine something at that scale, let alone something with my name on it. As far as new mediums and techniques, for the time being, I want to delve more into the use of figures and human forms made of a handful of materials. Metals, glass, concrete, etc.

And lastly, what is your biggest goal for this year? And how do you intend to pursue it?

I want to shake off the fear of perception and stop equating criticism to my self-worth. I'm an artist at the end of the day, no matter what. People are going to see my work, they're going to judge it, they're going to like it, they're going to dislike it. The biggest thing for me is to continue to remind myself about the subjectivity of art. Not everyone is going to resonate with what I make or why I make and that's perfectly fine.

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.

Apply for an interview >>

Related Interviews