Mireia Allende
- Anna Lilli Garai
- May 27
- 4 min read
Mireia Allende uses painting and augmented reality to talk about nightlife, gender roles, and how we present ourselves in social spaces. In “u going out tonight?”, she blends oil on canvas with interactive 3D elements, letting viewers scan each work to reveal something deeper. Her images feel bright and playful, but there’s tension underneath—questions about safety, pressure, and who gets to feel free. The project speaks to young women’s everyday experiences, using visual storytelling to say the things that are often hard to put into words.
Q: What got you interested in nightlife as a subject?
A: It was definitely my own lived experiences in nightlife. I’ve always found it fascinating to observe the mechanisms we rely on to adapt and have “fun.” I often felt an inner conflict, asking myself: how can I enjoy myself in a space where I don’t feel safe enough to be fully authentic? Or more so, how can I distinguish between my real self and my performative self in these spaces?
For some, the point of nightlife is to stop thinking entirely—so this kind of analysis might be seen as “overthinking.” And maybe that’s true. But I felt it was necessary to voice these feelings and offer a more critical lens on these environments. Through communal reflection, perhaps we can begin to demand better conditions for joy—on our own terms.
Q: What’s the most exciting part for you about adding AR to a painting?
A: Definitely the interactivity. As much as I love painting, the experience of viewing it tends to be quite passive—you’re simply observing. That’s valid, but I wanted the public to be more involved with the work.
I wanted to play with expectations—inviting the audience to “find out” more about each piece and challenge what they think they’re seeing.
AR is an exciting tool because its playfulness, accessibility, and first-hand engagement can make the experience more dynamic. Not only is it a powerful technology, but I believe it becomes even more valuable when applied creatively—in this case, to something as traditional as oil painting.
Q: Your works look fun at first, but there’s more underneath. How do you think about that mix?
A: I think of it as storytelling. Multi-media work allows me to visualise and emphasise a narrative—one that ultimately advocates for better standards of fun for young girls. Gender norms often operate invisibly, and recognising their effects takes time and reflection. If it’s already difficult for those who endure these pressures to identify them, wouldn’t it be even harder for those who perpetuate them to understand?
Anyone familiar with feminism knows that deconstructing bias and unlearning the male gaze is a long and ongoing process. With this work, I wanted to visualise that journey of recognising the things we’ve been taught to accept—often through compulsory cis-heteronormativity under capitalism.
Q: What do you enjoy most about working with others?
A: This project wouldn’t exist without collaboration. What I enjoy most is the richness of other people’s insights. Everyone, including myself, has blind spots shaped by our positionalities—so it was essential to bring different perspectives into the process. I like to think of this project as a collage of shared experiences.
Everyone in these works are close friends, and their input was invaluable. Mar, Aya, and Kate—the girls in the square canvases with typography—brought perspectives that deeply enriched the work, especially through their lived experiences of queerness, race, and non-Western backgrounds.
Q: Has your design background changed how you build a story in your art?
A: Absolutely. Before university, I saw myself as a traditional painter, but studying design opened up possibilities I hadn’t considered—thinking about audience, understanding the role of the artist as a facilitator rather than an authority, communicating clearly, and being aware of community needs. It made me a much more intentional practitioner.
As an art direction student, research has become central to my creative process. There’s now a methodical structure to how I work, which I believe strengthens my voice as an artist.
Q: What reactions do you hope your work brings out in people?
A: When I think about the art that’s most meaningful to me, it’s the work that stays with me—films, books, albums, or paintings that linger in my thoughts for days. That’s what I hope for: to spark reflection. Not necessarily always in a “positive” way, but if it leads to personal or collective conversations, I’m happy.
I especially hope young girls feel seen and understood. I want these pieces to say what some people may not yet have the words for. And I hope they encourage allyship and solidarity. I believe change starts in our closest communities. If this work helps prompt critical conversations, then it’s done its job.
