Artist Interview: Ana Miminoshvili on Freelancing, Illustration, and Finding Community
- Carly Eiseman
- Jun 2
- 6 min read
Updated: Jun 3
Tbilisi-based Ana Miminoshvili’s illustrations are bold, wowing glimpses into a singular mind. There might be a hint of déjà vu when you first look at her portfolio—but that’s only because her vivid illustration style has permeated journalism and popular culture over the past few years, from Bonnaroo’s posters to the covers and pages of British GQ and The New Yorker. Beyond her own work, she’s found time to foster community through a local Illustrators’ Club and a myriad of other projects. In advance of her visit to Basel later this month, our co-producer Carly Eiseman caught up with her on the way to her first residency in Vienna.
Carly: How did you hear about the camp?
Ana: I'm friends with Catherine Pearson, who participated in Basel Art Summer Camp last year, and she shared it on her Instagram. It seemed really fun. Freelancing can get a little lonely sometimes, so it's always nice to participate in events where you can meet and collaborate with people.
I'm excited to learn more about the art world because I mostly come from commercial illustration. I'm trying to shift a little toward making more personal art, so I'm really looking forward to exploring that space.
Carly: What are you working on right now?
Ana: I’m working on a few projects, including one for The One Club. It used to be called the Art Directors Club in New York, and they run Portfolio Night, portfolio competitions in around 30 cities worldwide. All the winners from each country fly to New York for an all-star competition. It’s a really fun event. I’m doing the branding for them: key artwork, animation, and now illustrations for each city. I’m also illustrating a guide for a nonprofit women’s health organization called Repro Uncensored. The guide I’m working on is about SEO strategies for nonprofits that deal with abortion-related topics.
Carly: What’s your usual process?
Ana: I always start with pen or pencil sketches to get my ideas on paper. Then I take them to my computer and illustrate digitally. But when I’m working on personal projects, 90% of the time I use analog tools. That’s relaxing for me, therapeutic.
Carly: What’s your favorite analog tool?
Ana: Oh, everything, I think. Mostly markers, colored pencils, liner pens. Lately, I’ve gotten into pastels, I really like the French ones that are almost chalky. I want to explore those more.
Carly: Can you tell me your story of how you became an artist?
Ana: I think it goes back to when I was around 17 or 18. But I’ve been drawing since I was two. I loved it as a kid. I went to an after-school art program for ten years, just a few days a week, but it felt like a second school. That’s where I got my technical skills. It was a really traditional Soviet-style school. One of the first themes we had to draw, when I was in second or third grade, was the theme of “labor.” Later, younger teachers came in, and it became much more fun. I thought I’d end up doing monumental graphics or something hyperrealist. At the time, I was really into doing huge pencil or ballpoint pen drawings.
I started uploading my A1-size drawings to Behance and discovered the world of digital illustration. In Georgia, we don’t really have an illustration industry, it’s almost nonexistent. It might appear alongside websites or graphic design, but it’s not a standalone field. There’s children’s book illustration, but that’s about it.
Through Behance, I found out about editorial and commercial illustration, advertising, and graphic design. I liked this new digital world, so I began experimenting with Photoshop, scanning my analog work and playing with it digitally. One of the local agencies saw my work and reached out. I was about 20 then. I ended up working with them for three years and learned what it meant to be a multidisciplinary designer, doing everything from digital illustration to UI design and graphic design.
I even competed in the Cannes Lions competitions and we won one! But illustration was always my true passion, so in 2018 I quit to focus solely on that. Since then, I’ve been a freelance illustrator, juggling commercial projects with personal work. So far, it’s been going really well.
Carly: Will you tell us about your Emojinarium project?
Ana: Sure! That project came out of the pandemic. In March 2020, I was taking a break, no projects lined up, so I decided to focus on personal work. Then lockdown started. I was stuck at home with nothing to do, scrolling on my phone. I posted a story asking people to send me two things I could combine and draw - just for fun. A few people sent emojis instead, so I said, “Okay, just send me two emojis.”
Each one took around 20 minutes to draw. I started posting the results on my stories as people sent ideas, and it turned into this really fun interactive project. Everyone was at home, so I think it gave people a little joy and connection.
Carly: What were your favorites?
Ana: The very first one: Broccoli with an Exploding Head. I also love the Pufferfish—it’s not super original, but it’s really cute, and I just love pufferfish. And the ones with whales, because I love whales.
Carly: I think you’ve single-handedly added new icons to the universal emoji library. Have you thought about doing an emoji workshop?
Ana: Yeah, I’ve done it a few times! I print emoji stickers and put them in a bowl. People draw two randomly and combine them into a new drawing, then stick the final result underneath. It’s fun!
Carly: What is it like making art in Georgia now? Is there a local scene? Is it quieter because of the conflict?
Ana: Everything - from social life to culture- has taken a step back. But I think it’s also pushed some people to create and express protest through art. Still, the overall situation isn’t great.
Before, there was more of a scene, especially in fashion and modern art, more than illustration. We still don’t have a real illustration industry. We have illustrators, sure, and some are internationally recognized, but there’s no local market. I’m more of a commercial illustrator, so I’m not part of the fine art scene. Graphic design here is tied to advertising, which is a different world.
Carly: Are you still running the illustrators’ club in Georgia?
Ana: Yes! We started it right after COVID hit. We haven’t done as many events recently, but we still have a big Discord. Some members just published a comic book, short stories in one collection. We’ve done a few online events too.
Most of our members are women, probably 80%. It started locally because freelancing from home can be isolating, and we didn’t know each other. Now, I know so many Georgian illustrators! Before, I didn’t even realize we had that many.
And since there’s no real industry or formal education here, a lot of people reached out for advice: how to get clients, how to budget, licensing, etc. So we started the club to share experiences and help each other out.
Carly: That’s wonderful. Licensing is so important—especially for illustrators—because you're creating something from nothing, and it’s your intellectual property.
Ana: Exactly. It takes a lot of time and effort. There are two of us managing it, and we do our best to find time even while working with clients. It’s not easy, but we’re managing.
Carly: I saw on your Instagram that you’re going to Vienna?
Ana: I’m actually leaving in a few hours for a two-week residency! It’s my first one, so I’m really excited. I’ve had this idea for a while. I ordered blank wooden skateboard decks and I’m going to draw on them using acrylics, markers, and pencils. I’m thinking of calling it “I’m Afraid of Heights”—though I’m not 100% sure yet.
I used to be fearless, but as I’ve gotten older, I’ve developed a fear of heights - and also of skateboarding! I never learned as a kid, so it’s become one of those symbolic adult fears. This project is kind of about that.
Carly: I love that. I feel like in a few weeks, you’ll show up with a skateboard and say, “Carly, I learned in Vienna.” What are you planning to bring to Switzerland?
Ana: Too much! I love merch—making physical stuff. I like seeing my work printed and tangible. So I’ll bring prints, enamel pens, a bag of charms, keychains, bookmarks, and a bunch of postcards. I have a lot!
We look forward to having Ana - and all her stuff- at the Basel Art Summer Camp later this month! Come meet her for a coffee and check out her work:
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