{"id":854023,"date":"2026-08-11T09:52:18","date_gmt":"2026-08-11T09:52:18","guid":{"rendered":"https:\/\/www.newsbeep.com\/ca\/854023\/"},"modified":"2026-08-11T09:52:18","modified_gmt":"2026-08-11T09:52:18","slug":"carolina-moscoso-trained-as-an-architect-look-closely-and-it-never-left-her-drawings","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/ca\/854023\/","title":{"rendered":"Carolina Moscoso trained as an architect. Look closely and it never left her drawings"},"content":{"rendered":"

Carolina Moscoso never set out to be an illustrator. Yet the New York-based Portuguese artist has spent the last few years working for the likes of Barron’s, Bloomberg Markets, Politico and the Washington Post \u2013 even winning an award along the way.<\/p>\n

She turns some of the driest, most technical briefs into thought-provoking images you could hang on your wall, which is her speciality. And she gets there not by mastering the subject but by finding the human story running under them.<\/p>\n

“It’s almost like drawing on a need-to-know basis. My intuition is to hold on to any emotional and symbolic elements of the story, something that gives me room to play with more gestural\/theatrical expressions,” she explains.<\/p>\n

Before any of this, there were buildings. Carolina trained and worked as an architect in a previous life. It’s something she hasn’t forgotten. You can’t unsee it once you notice the intricate black lines and almost too-perfect compositions. “If your brain is wired up to think and see as an architect or designer, that never changes off the job. And it will always interfere with the drawings; that’s my toolbox,” she says.<\/p>\n

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Her work is flat and bold, even a little surreal. At times, it’s all primary colours and obsessive detail. A structural logic always binds her artworks together. It doesn’t surprise me to learn that her process begins by laying foundations. “I notice a tendency to anchor drawings in more concrete, relatable, even domestic environments as a starting point, before it turns weirder, which is the plot twist that interests me most,” she says.<\/p>\n

She’s made covers too, including for the Bloomberg Markets series, and she treats a cover as a different problem altogether. She thinks it’s closer to designing an object than composing a picture. “A cover must also create an eye-catching moment that works at different scales and interacts outside of its contained structure. It’s like an object in a way,” she says. “I am honoured and lucky to have been a small part of the bigger making of that series, which is the vision of Bloomberg Markets Magazine’s brilliant Design Director, Josef Reyes.”<\/p>\n

Architecture has its impact in her personal work, too. Her ongoing project @hypotheticalplants<\/a> invents plants that don’t exist. “They actually go back to early architecture days when I was drawing a lot with AutoCad. I started making my own library of objects to use in architectural drawings: plants, vases, people, and more,” she recalls. Those objects narrowed to vases and plants, wandered into 3D experiments, and eventually earned a name of their own: “experimental vases for hypothetical plants”. When friends at Moonlab 42 invited her to show some work, they turned into a solo show, ‘Tea for Ten’.<\/p>\n

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It’s this work she rates the most. “Personal projects are possibly the most important of all; they are your strongest link to a space of honest documentation where your curiosities and intentions can manifest in ways you couldn’t have anticipated. It’s transformative work that often defines you better as an artist than anything else,” she says.<\/p>\n

For all the brilliance of digital, she keeps going back to traditional methods \u2013 sketching by hand before the final digital piece, and keeping a whole strand of works on paper going alongside the commissions. “It slows me down quite a bit; it’s messy too, but I feel much more connected to whatever I am trying to solve and, needless to say, less screentime is always better,” she says.<\/p>\n

Building a career in New York as a Portuguese outsider can’t have been easy, but that has never really been an issue. “One cultural barrier that I had to overcome, though (and sometimes still do), is the fear of reaching out to people you want to work with. In Portuguese culture this isn’t (or at least it wasn’t) so usual, and sometimes even considered out of place,” she says.<\/p>\n

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Freelancing itself has its challenges. “Everyone panics through this, and if they tell you they don’t, they are probably lying. I try to redirect that panic into some constructive self-evaluation and effort to improve, whenever possible,” she says.<\/p>\n

And on AI, she’s pretty straight about it: “I don’t agree with its appropriation of artists’ work at all. But I can respect the use of AI for other higher purposes, in science and medical fields, for example, where it has indeed helped with actual progress,” she says.<\/p>\n

If you’ve read Creative Boom for a while, you’ll know we always love to ask everyone: what advice would you give to those just getting started? “Think about making good work, starting with whatever your skill allows first, make as much of it as you can and show it to people,” she says. The point, in the end, is to stay unfinished: “Nothing is too precious or locked in; you will be forever evolving.”<\/p>\n