Multidisciplinary Artist
muhl·tee·di·suh·pli·nuh·ree
Someone who works across multiple artistic disciplines, combining or using them in their creative practice.
This is what Leila Mistretta describes herself as. This was interesting as I have always had this deep fascination for those who work in multiple mediums. In a sense that their mind has no bounds, they cannot be narrowly put. Their outlets are countless. So, Mistretta was intriguing, and I wanted to know where this followed.
Leila Mistretta: ‘I grew up in St Albans, lived super close to London, and I’ve studied here too at London Metropolitan. I moved to the city when I was 18 and just never left. This helped me be an artist, as well as a set designer.’
Since she studied at London Metropolitan, I was curious to hear about her experience. Insider perspectives like hers aren’t often shared. In the creative industry, we’re always keen to know which educational institutions are truly respected.
Leila Mistretta: ‘It was good! They really pride themselves on being sustainable, like literally everything is second-hand. But what made it good was the teachers. Like, they were actually passionate. They really cared about getting kids into art careers. My tutor was honestly such a good
mentor.You always hear about the big unis like UAL or Central Saint Martin’s being quite cold or not that supportive, but my tutor was the complete opposite. He was around every single day, checking in, helping us find opportunities, pushing us, not babying us but definitely backing us. And I think they really focus on helping you find your own art style like what you actually care about.
For me, I struggled a lot with feeling like I didn’t have a “style,” like I didn’t know what my thing was. And he was like, that’s fine you’re multidisciplinary, so own it, lean into it. That’s what I’ve done ever since.’
The Dual Path
The University provided the drive and support that gave Mistretta a strong foundation to begin her journey as a multidisciplinary artist.
Leila Mistretta: ‘I’d say I’m a freelance set designer and an artist like, set design is kind of where I’ve been getting paid lately. I do jobs for commercials or film productions, anything where a director needs help building a world, basically. I love it I love making things come to life. But long-term, I see myself more as an artist who does set design, not just a set designer. Set work is often about someone else’s vision, and while I love that, I also want to keep making work that’s completely my own. Like, things that are rooted in my ideas and voice.’ As society continues to evolve, more and more creatives are emerging.
But what sets you apart from someone like John or Holly? What’s your unique selling point? With Mistretta being one of many in a growing field, I was eager to hear her perspective on this
Leila Mistretta: ‘I always say Don’t just be one thing. I don’t think we live in a world where artists can just stick to one thing anymore. Being multidisciplinary makes art more accessible, too. Sometimes people feel disconnected from traditional art, like a painting on a wall. But if they can touch it, walk through it, feel something physically? It hits different. That’s the kind of work I want to do. Stuff that’s playful and physical, that makes people feel like they’re part of it.’
This also made me wonder about the work that inspired her and ultimately guided her in this direction.
Leila Mistretta: ‘A mix, honestly. I did a chair the Hairy Chair then I did a screenprint and a painting. I just ran with all the different areas I wanted to try.’
I brushed my fingers across the strands on the chair. No, it wasn’t real hair, but more like finely woven straw, almost like a basket weave. With each movement, I could hear the fibres shift in a soft, rhythmic motion almost as if I were listening to the wind itself, gently stirring them.
Leila Mistretta: ‘So, I made that for a fashion editorial shoot they wanted some really funky chairs. I had this old one lying around at home, and I’m really big on sustainability and repurposing, so I used what I had. I also had this huge bundle of string I’d bought to tie things up around the house, and I just started knotting it all over the chair, like one by one. Took me two full days. My hands were aching! But it came out so cool. It’s a bit rough around the edges, but I think that adds to it. The string gives it this wild, textural vibe I love playing with it, it’s super tactile. And the name? The Hairy Chair that’s just me. I’m a woman with body hair, and I’m proud of that. It felt like a fun way to express a part of myself.’
I couldn’t help but mention how interactive the chair was I couldn’t stop running my fingers over it. It felt as though I were taking part in a sensory play exhibition.
Leila Mistretta: ‘Yeah! Exactly. Even this cat from next door came in and was obsessed with it kept walking under the string. Honestly, it’s a great piece for animals too, apparently! Maybe I should start making pet chairs.’
Moving away from the chair though it clearly had the power to steal more of her time, especially with how transfixed I was by it I noticed that Mistretta also works in other mediums, including graffiti. One of the first pieces in this series was titled Graffiti of the Heart.
Graffiti of the Heart: Art as Therapy
Leila Mistretta: ‘That one’s really personal. I was going through a really rough relationship pretty toxic relationship. I started writing loads, journaling, poetry, just trying to get my feelings out. And that bled into my artwork. It was a way to process, like therapy for me. People always say “art is therapy,” and it might sound cliché, but it’s true. It really was a release. I’m also Christian, and I feel like God kept saying, “Get it out. Make art.” So I did. That painting came from that time, and it actually ended up selling at a private viewing, which meant so much like someone saw what I felt.’
Hearing this took me back to my initial thoughts on the piece. The tape or plasters seemed to symbolise the attempt to heal an effort to cover the wounds. Yes, there would still be scarring, but what emerges is a new version of yourself. A version shaped by pain, yet strengthened by the experience. I’m an optimist, so that’s always the first place my mind goes. I can’t help it. Mistretta responded to this line of thought with the following:
Leila Mistretta: ‘Yes! That wasn’t planned at all. At first, I didn’t like the painting something about it wasn’t sitting right. So I just started putting masking tape over parts of it. But then I looked at it and thought… wow, this kind of adds to the meaning. Like, it felt symbolic. The tape was like me patching myself up. Covering the bits that felt too raw, too open. And in doing that, it became more powerful. The tape became part of the piece part of the healing. And that’s what the whole thing is about, really. Being hurt, but not hiding it. Living with the scars and finding beauty in that.’
Mistretta also shared something that has stayed with me long after our conversation ended:
Leila Mistretta: ‘The pain’s still there, but you’re owning it. That’s why I called it Graffiti of the Heart. Because it’s messy, it’s raw, it’s sometimes seen as “ugly” or loud, but there’s art in that. There’s honesty in just expressing what’s inside instead of hiding it. Graffiti itself is emotional. It’s rebellious. It’s a form of release. And so was this piece; it was me trying to get everything out without numbing it, without turning to things like alcohol or distractions. I think when people see that, they recognise it. Like, oh, this is real.’
I feel as though I don’t need to say anything further or maybe I’m reaching my max limit on the word count. However, in the future, we seek more of you, Leila Mistretta. I thank you for the conversation.
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