Filling the Spaces: Jakarta-based Illustrator Bethania Brigitta

“Finding answers one drawing at a time,” is how Jakarta-based Bethania Brigitta describes herself as an illustrator. “For me, drawing is an attempt to find comfort in the unanswered. It’s a form of hope that helps solidify abstract thoughts.” Brigitta is among the Southeast Asian artists we met at the 2024 Manila Illustration Fair, whose booth was filled with her colorful, whimsical drawings. The artist explores various subjects, often inviting audiences to pause and reflect on authenticity, creative freedom, and life itself. She uses playful characters and/or elements, which, in her words, form “wonky illustrations.”

Kanto had a chat with Brigitta weeks after the event, delving into her experience of visiting the Philippines for the first time, her observations on Philippine art and culture, and the messages she hopes to bring to audiences through her works.

Nice to meet you, Bethania! You came all the way from Indonesia for Manila Illustration Fair. Can you tell us what urged you to join? How would you describe the Philippine art landscape based on what you experienced at MIF? How does it compare to the atmosphere you have back home?

Hello Gabbie! Thank you to Kanto for the opportunity to share my story. I’ve been continuously inspired by Philippine illustrators for the longest time—Kurboi, Gianne Encarnacion, Glendford Lumbao, Alyssa Babasa… we’d be here all day if I listed everyone!

When I came across MIF’s mission and inclusivity statement in May, I instantly fell in love. I felt right away that MIF had the best interests of illustrators at heart. I started joining art fairs this year to put myself out there, and I knew I wanted to be part of a fair that genuinely celebrates art.

The Philippine art atmosphere I experienced at MIF differs greatly from what I observed at a recent art market I joined in Indonesia called Artket, which happened a week before MIF. I saw more realist-surrealist art at MIF, while there were more playful illustrations at Artket. I learned a lot just by admiring all the art at MIF, not just because of how different it was back home but because of how talented everyone was.

Tell us about your curation for the fair. What was the thought process behind selecting which works to include? Did you create anything new for MIF?

My preparation for MIF ran alongside my prep for JICAF (Jakarta Illustration & Creative Arts Fair). Knowing my limitations while still working full-time at the time, I aimed to keep both submissions cohesive.

I created two new illustrations for the fairs. For JICAF, I wanted to express my concern about how artistic skill is often overlooked as a gift. For MIF, I wanted an illustration that appears busy yet has a straightforward meaning.

These ideas capture what I want my art to represent. As these fairs will introduce me to more people, I was hoping it could show how whimsy, colorful, seemingly wonky illustrations can also hold weight and be reflective.

Let’s get into your whimsical art style. Can you tell us how you arrived at maximalist, childlike illustrations? Was this always something that appealed to you?

I love creating illustrations that are full to the brim! I think my love of filling up space has been clear since I was a kid since I grew up with CLAMP manga and Ghibli movies like xxxHolic, Spirited Away, and more. Looking back, I realize how much they influenced me to meaningfully maximize even the tiniest empty spaces.

My love for maximalism also extends to my use of color. I always knew I wanted my drawings to be colorful, but I struggled with it for a long time. Back then, if I finished a colorful illustration that I liked, it was just a happy accident. From 2020 to 2021, I worked for an Indonesian brand called Smitten by Pattern, where I learned the complexities of color from my Creative Director, Diniella Putirani. She honed my color-picking skills from zero, and for that, I’ll be forever grateful. I haven’t looked back since!

I think my style also stems from the fact that I know how hard it is to make a certain look work, and I challenge myself to do so. Imperfection is a charm on its own. Being able to imagine a shape that resembles real life while making it look different is an already adventure.

I love the enthusiasm you have for what you do! Where do you get the inspiration for your art? Do you follow a structure in deciding on what to illustrate, or do you prefer creating something out of a random thought or experience?

I draw inspiration from thoughts that have been lingering in my head for far too long. If an idea has been stuck with me for quite some time, I eventually need to draw it to soothe myself. I usually start by writing everything down on paper until I arrive at a simplified version of the initial thought. I then dissect possible elements and characters before starting to sketch.

Creating something from a random thought or experience is also fun, but I don’t doodle much. I tend to feel stressed if I start drawing without a clear story in mind. But these days, I’m trying to learn to draw for fun! 

I understand how essential it is to map your thoughts, especially when you’re working on an important project. I do hope you can draw the fun out of what you do!

Speaking of projects, you’ve had collaborations with different Indonesian brands. Can you share with us one project that you enjoyed the most? How does this speak of your aspirations as an artist and individual?

I recently collaborated with Jenius, a digital bank from Indonesia.

I’ve been a user of their platform since around 2017 so I’ve been paying attention to them for a long time. They were one of the first banks in Indonesia to utilize illustration as a form of communication and have collaborated with Indonesian illustrators I admire. I’m honored to have the opportunity to work with them.

The whole process was wholesome. I was given a lot of creative freedom to convey their message. Collaborating with a client who completely trusts and appreciates your creative decisions was a significant shift from working with clients who simply needed someone to draw something for them. It’s a reminder that the right clients do come along—those who see your worth and give you the space to create.

Jenius was also the first client I had after resigning from my day job to pursue illustration full-time. I feel like the experience was a good luck charm!

Any plans or perhaps dreams to collaborate with Filipino artists or brands soon? Who would you like to work with, and what would you like to create with them?

Having a collaboration with Jollibee will be wild! One can dream, right? I also visited IT’S VINTAGE while I was in Makati, I think it would also be fun to collaborate with them.

I would love to collaborate with and learn from more Filipino artists whose drawings look entirely different from mine. If anyone is interested, you know where to find me!

Lastly, what would you say is your best takeaway from your MIF experience? Would you encourage other artists to join the next edition?

I endorsed MIF to at least seven people a week after the event! I think that’s telling of how much fun and learning I had at the fair. It was honestly the best art market I’ve ever experienced, and I now fully understand how heartfelt and impactful an art market can be when the organizers have the best interests of the illustrators at heart. The event truly celebrated art and illustration in every aspect—the diversity of artists, the warmth of the community, and the creative noise that filled the venue for three straight days. I’m forever grateful for the opportunity to be a part of it.

Thank you, and we hope to see you again at more Philippine art markets! •

bethaniabrigitta.com