An interview taken from our new issue THE CLASS OF 2025! Kohlben Vodden is an amazing Australian-born self-taught artist and dedicated dog lover whose artistic journey reflects a deep fascination with psychological concepts such as identity and aesthetics. His artistic practice, which he describes as visual storytelling, seamlessly blends conceptual and expressionist art.
Focusing on contemporary abstract figurative works rendered in traditional oil paint, Vodden employs insights from experimental psychology to create a bold geometric style. With intense palettes, he commands viewers’ attention and communicates evocative stories, fostering emotional and physiological responses that forge a profound connection between the artist, viewer, and subject.
Though relatively new to the professional art scene, Vodden has been a lifelong creative. Since childhood, he has honed his skills in figurative realism drawing. His professional artistic journey began during the UK COVID-19 lockdowns in 2020, marked by the creation of “Orange Ebby”—the inaugural piece in his exploration of identity through abstract portraits. He revels in the contrast of utilizing traditional mediums like oil paint with deliberately controlled techniques to achieve intensely contemporary images that, at first glance, could be mistaken for digital works.
Kohlben Vodden www.voddenoriginal.com / @voddenoriginal
Photography by Alexander Ekholm alexanderekholm.com / @aekhlm
Your work deeply investigates the layers of identity. Can you elaborate on what initially drew you to the psychology of identity in your artistic practice?
Identity isn’t something the average person thinks about. They accept what society tells them they are. Being a queer artist and someone who lives in a country different to where I was raised – the concept of identity is more salient for me. From a young age, I had to cast a critical eye on the identity others wanted for me. I was forced to decide whether I cared more about making others comfortable or being true to myself. I’m particularly fascinated by the dissonance between who we are versus who we present to the world in different contexts. We’re all multi-layered beings with contradictions and complexities, and art is my way of exploring and shining a light on these ideas.
You mention a dissonance between how individuals internally define themselves and how they present themselves to the world. How do you navigate this complex landscape in your art?
I find beauty in tension. When we feel the need to hide part of our authentic selves or adopt traits that are not our own to make others feel comfortable it creates friction between our self-concept and our adopted social identity. I represent this dissonance using colour theory. My palettes include complimentary or opposing colours on the colour wheel and I build a palette around these two hues reflecting the dance between internal truth and external projection.
Your process involves a deep connection with your subjects. Can you describe how you establish this connection and the role it plays in your creative process?
Originally my creative process was very subject-led. Through in-depth interviews, I would find inspiration in the subject and translate their inner world into my visual language on canvas. Through the course of the last couple of years, my process organically evolved to using images of subjects to represent stories that I want to tell. Effectively moving my work from narrative-based abstract portraits to abstract figurative.
This is reflected in how I now name my artworks. My original naming convention was the dominant hue that I used to communicate the emotion of the story and the subject’s first name. For example, Blue Cesare. More recently, I’ve evolved this to reflect the more representative role of the figure in the artwork and focus more on the central idea. For example, my most recent painting is titled “The Face of Exhibitionism”.
In what ways does your heritage influence your understanding of identity and how it manifests in your artwork?
My Australian heritage acts as both a lens and a foundation. It’s shaped how I see the relationship between individual and social identity. The cultural differences between Australia, where I was raised, and Britain where I now call home, are vast. Culturally, Australians are considered bold and outspoken, we’re also known for being blunt and unambiguous in thinking and language. This comes through in my work through my bold and high chromatic colour palettes that are presented using hard-edge painting techniques.
Can you talk us through why you chose to use the hard-edge painting technique and how it helps convey messages about identity?
The hard-edge technique appeals to me because of its clarity and precision. In exploring identity, I’m drawn to the idea that we often present ourselves in defined, controlled ways—almost as though we’re setting clear boundaries between different parts of who we are. Hard edges allow me to express this compartmentalisation, the way we fragment aspects of ourselves for different audiences, roles, and situations.
At the same time, these sharp divisions can create tension within the piece, reflecting the inner struggle to maintain these boundaries. There’s an inherent conflict between our desire for authenticity and the pressures to conform to societal expectations. By using hard edges, I highlight that sense of division—where one aspect of identity meets another, there’s both separation and connection. It’s a way to explore the idea that, while identity can feel segmented, each part still exists within a larger, cohesive whole. Through this technique, I hope to prompt viewers to think about their own “edges” and how they navigate the balance between individual pieces of themselves.
How does your use of oil and a bold palette enhance the emotional depth of the stories you’re telling through your art?
Unlike other mediums, oil paint allows me to layer emotions, building depth and richness that feel tangible. The bold palettes command the viewers’ attention, provoke curiosity and convey emotions.
Each colour carries its weight and energy, evoking different moods and emotions. Together, they create a visual language that speaks to the underlying narrative of identity.
You incorporate colour psychology into your work. How do you believe it impacts the viewer’s experience and interpretation of your art?
Colour psychology is central to how I communicate emotion and create resonance in my work. I think colour has an almost subconscious effect on viewers, allowing them to feel things they might not have words for. Different colours tap into universal emotions—red can evoke passion or even aggression, while blues and greens bring a sense of calm or introspection. By intentionally choosing and layering colours, I’m able to subtly guide the viewer’s emotional journey through the piece.
I use colour to evoke complex, sometimes conflicting emotions that mirror the layered nature of identity itself. For example, pairing warm, intense hues with cooler, more muted tones can create a push-pull effect, suggesting the tension between external presentation and inner truth. I believe these insights enable viewers to connect with the art on a deeper level, experiencing it as something that reflects their emotional landscapes. Ultimately, I hope my work leaves them feeling seen, as though it speaks to both their conscious and unconscious selves.
Can you share an example of a subject whose story profoundly impacted you during your creative process?
This is an easy one for me. One of my paintings was inspired by the tension experienced by an Olympian, who was transitioning from elite athlete to TV personality. During the many hours of painting, a single thought kept taking over my mind. It was a lesson that revealed itself during the conceptualisation of the piece — that in the race of life, you can chase one of two trophies. You can either covet and dedicate your life to either achievement or actualisation. We are all socially programmed to covet achievement, to win the competition or to acquire things. But the reality is that we can never obtain ‘the trophy’ because the finish line is not fixed – there is always more, bigger, further, and better. In contrast, when we pursue self-actualisation we drop out of the race. We no longer need to compete, we are complete. That lesson has stuck with me ever since.
What kind of emotional or psychological reactions do you hope to evoke in viewers when they engage with your pieces?
I want viewers to feel a sense of introspection, as if they’re looking into a mirror that reveals parts of themselves, they might usually ignore. Whether it’s discomfort, curiosity, or a sense of kinship, I hope my work prompts them to confront and question their own identities. I want my pieces to feel like an emotional journey, where each viewer takes something unique from the experience.
The concept of geometric shapes, symbols, and patterns is intriguing. How do you approach identifying these hidden elements in your subjects?
Geometric shapes and symbols emerge naturally as I break down a model’s form. I see these shapes as metaphors—circles for continuity, triangles for strength, fragmented lines for vulnerability. They’re almost like a visual code that, when pieced together, tells a deeper story. I let these elements evolve through the process, allowing them to reveal hidden layers of meaning.
Looking forward, what themes or ideas are you eager to explore in your future work?
Colour and colour psychology are already central to my work, but I want to challenge myself and explore how I can express meaning by only using colour. I’ve always been drawn to the colour field art movement, so I’m exploring a completely new creative expression that would see me create artworks void of form, lines and value. The idea is to use colour and light in its purest form to convey meaning. This may or may not result in a new medium. I’ve experimented with a lot of different mediums and resin is something that I’m finding intriguing at the moment.
In a rapidly changing world, how do you believe identity is evolving, and how might that influence your future projects?
Identity as a concept is something people are starting to think more about. This is large, thanks to debates around topics of gender and sexual identity. These often heated debates have created a social dialogue about identity becoming more fluid and being shaped by diverse influences that previous generations ignored. We’re constantly adapting, often curating ourselves for different audiences online and offline. The dynamism of this subject will likely push my work to explore what it means to break away from societal norms and be non-conforming.
What role do you see art playing in the ongoing dialogue about identity in society today?
Art has a unique role in today’s conversation on identity—it’s both a mirror and a platform. In a world where identity is increasingly multifaceted and fluid, art allows us to explore those complexities without the constraints of language or labels. Through visual expression, artists can challenge societal norms, question stereotypes, and reveal the unseen or unspoken aspects of who we are. Art invites viewers to confront their perceptions of identity, encouraging empathy and a deeper understanding of others’ experiences. I see it as a safe space for people to explore their own evolving identities and to connect with the layered stories of others, all within the transformative space of creativity.
Are there any artists or movements that have particularly inspired your approach to exploring identity and psychological themes in your work?
Absolutely. I’ve always been drawn to artists who delve deep into the psyche, and figures like Mark Rothko and Francis Bacon have had a profound influence on my approach. Rothko’s work, with its immersive fields of colour, taught me how minimalism in form can amplify emotional impact. Bacon, on the other hand, confronts the darker corners of human experience with a rawness that I find both unsettling and inspiring; he doesn’t shy away from the complexities of the human condition. In terms of movements, Abstract Expressionism and Surrealism give me the freedom to explore identity as an evolving, sometimes contradictory concept.
The French contemporary artist, Françoise Neilly’s work has also left a significant mark on me. Her bold, vibrant use of colour and her intense, close-up portraits manage to capture a person’s essence beyond their physical appearance. Her layering of colours, often in unexpected and almost jarring combinations, conveys a depth of emotion and a certain rawness that resonates with my exploration of identity. I’m fascinated by how she uses colour to evoke psychological intensity without needing to rely on traditional realism. This has influenced my approach to colour and abstraction, reminding me that identity isn’t always neat or easily defined — it’s dynamic, multifaceted, and sometimes even contradictory.
Lastly, what message or takeaway do you hope leaves a lasting impression on those who experience your art?
I want my art to be an invitation for introspection — a chance for viewers to connect with parts of themselves they may rarely confront. If there’s one message I hope resonates, it’s that identity is layered, fluid, and often contradictory, yet every facet deserves understanding and acceptance. I hope people walk away from my work with a greater sense of empathy, not just for others, but for themselves. In a world that often pressures us to fit into neat, defined boxes, I want my art to remind people that it’s okay to be complex, to be unresolved, and to embrace the beauty in that ambiguity.
