Aussie Indie Artists is a Q&A series with smaller Aussie creators that shares exciting new works, finds new angles towards the art, and peeks behind the scenes.
Fabian Artunduaga’s collages are seamless worlds for you to inhabit, if just for a single dramatic moment. Working under the name HouseCatStudio, the Sydney-based artist layers photography, collage, and surrealism into intricate dreamscapes you can practically step inside. His work is lush, strange, and sensual.
Ahead of his exhibition at this year’s The Other Art Fair Sydney (May 8-11), I caught up with Fabian to find out where these surreal dreams start, end, and begin again.
In your work, everything fits together seamlessly. They feel complete, logical even. But does it start as that whole idea? Or with something smaller like one image?
Thank you, that really means a lot to me. My process is very intuitive from the start. It usually begins while I’m browsing through my own material – a certain idea, a perspective, or even just a colour will catch my attention, and from there, I start developing the piece. I guide myself through the process by following what feels harmonious and visually clean. I tend to create subtle contradictions within a realistic world, introducing tensions that aren’t immediately obvious but create a deeper emotional response. I also try to keep the number of elements limited, so the composition feels easy to read and the impact is stronger. It’s all about finding that balance where everything feels natural but still slightly unsettling – like something familiar that’s just a little bit off.
Does your work appear in your dreams? Or is it the other way around?
I wouldn’t say it appears in my dreams exactly, but I do like to think of it as my subconscious at work. Over time, I’ve learned to let go and give my subconscious the space to explore freely-moving things around, making unexpected connections. It’s during that process that the real magic happens. Afterward, I come back to the piece with a more conscious eye, clearing away anything that isn’t necessary and adding the final details to bring it all together.
You have a recurring theme of women larger than life, where did that start?
For me, it’s less about their size and more about what’s not there. I tend to leave their faces out on purpose, to create a sense of intrigue. I realized that by holding back some information, it makes people wonder and start filling in the blanks themselves. The first time I played around with this idea, everything just clicked – it felt like stepping into a different world, one that left space for imagination. Since then, I’ve kept coming back to it because I love how it invites viewers to get lost in the image, to feel something without needing all the answers.
Other works show off your sense of humour, what makes you laugh?
Great question. I think I naturally lean toward a more sarcastic, dark sense of humour. I like when a joke doesn’t just tell itself – when there’s something more happening under the surface, something you have to pick up on. That kind of layered humour, where you’re laughing but also thinking a little deeper about it, is what really gets me. I guess that’s why some of that slips into my work too.
And which artists do you love?
There are many artists I admire, but one that really stands out for me is Guillermo Lorca. I love the way he blends beauty and darkness so seamlessly. His work feels dreamlike but also a little unsettling, which is something I really connect with. There’s a sense of magic in how he tells a story without giving everything away, and that’s something I try to explore in my own way too.
Have you tried other mediums? What drew you to collage?
I’ve tried a few different mediums, like oil painting, acrylics, and photography, which I still use in my collage work. But I’ve always felt the restrictions of time and materials in those mediums, which is why digital collage really clicked with me. It allows me to explore ideas quickly and manipulate things almost intuitively. I can experiment, move things around, and see what works without the limitations that come with physical mediums. The speed with which I can get my ideas down and make adjustments is unmatched, and that’s what makes digital collage such a perfect fit for my creative process. However, I still work with oils and photography and appreciate the lessons they bring to my work, especially in terms of colour, perspective, and light-things that remain key to the collages I create.
Some pieces I can imagine came naturally, one photo over another, while others might’ve taken a photobook of tries before you found an idea you liked. What’s that process like?
Definitely! I have a huge image bank that’s always evolving. Every now and then, an element will stand out and feel like the anchor of a new piece. From there, I start experimenting with what works and build around it. But in the best-case scenario, I wouldn’t say it’s ever just one image on top of another. It’s more about exploring with the elements, their colours, depth, and how everything comes together visually. That process of mixing and matching, finding that perfect balance, is what gives my work its unique feel. It’s all about layering, adjusting, and refining until it feels right.
How many pieces get left on the cutting room floor? Do you have any favourite ideas that you haven’t realised yet?
There are definitely a lot of pieces that come really close but just don’t quite hit the mark yet. They’re almost there, but I feel like they need something else to make them what I really want. I trust the process, though, and since I’m pretty organized, I always keep those ideas in mind. I’m constantly on the lookout for that missing piece that’ll make it click. And as I keep exploring, new ideas come up all the time, so some of those unfinished pieces might get another shot eventually.
With an infinite budget, how would you change your work?
If I had an infinite budget, I’d definitely upgrade to a bigger studio! I’d also introduce more of my own photography into the work. With more time and resources, I could travel more, and with that comes fresh ideas and great photos, plus the opportunity to collaborate with models and other creatives. But when it comes to the work itself, I think it would stay pretty much the same. It’s all about the process for me, and that wouldn’t change, no matter the budget at this point.
And that are you most excited about for your exhibition at The Other Art Fair Sydney?
I’m really excited to use this opportunity to find people who connect with the way I create – those who see something exciting or meaningful in my work. Even though my pieces feel very personal, over the years I’ve been encouraged by how many people tell me they feel something too. I’m looking forward to building those new connections, sharing what I do, and also meeting other Sydney artists and continuing to learn from this amazing art community.
Thank you!
Thank you so much for giving me the chance to share a little more about my art and my journey. It’s been a real pleasure to open up about the process and the ideas behind my work. I’m really looking forward to meeting you at the fair.
You can see more of Fabian’s work on his Instagram, in his PicDrop Gallery, or in-person at his upcoming exhibition at The Other Art Fair Sydney (May 8-11).
