When anxiety strikes Keely Majewski, as it so often does for each of us, art has become a form of therapy for her to feel at ease. Known to many by her nickname “Poi”, the Florida-based illustrator has gained a sizable following over Instagram for creating beguiling female characters that look like 3D rendered Bratz dolls, if they were targeted towards adults, and placed in a dystopian future.
Digitally created with rich textures, punchy colors, exaggerated features, and fashion styles that are both imaginary and inspired by ‘90s and early ’00s silhouettes, Poi’s women are strong, sexual, and unapologetic — traits she purposefully imbues in each to “embody the strength and attitude I strive for in my own life,” she tells Hypeart.
With an unmistakable style and an attention to detail, it would surprise many to learn that Poi hadn’t even touched 3D art before the pandemic. In fact, she went on a five year drawing hiatus prior to 2020, instead focusing on journalism, and interviewing a number of artists daily. This prior apt for music, however, continues to seep its way back into the work — from the highly dramatic and sensual motifs of her character stances to the clothing they are clad in.
Spanish singer Rosalía was impressed to the point that she even commissioned Poi to design promotional art for a live event. “When I think about that time it still doesn’t feel real,” she adds. I’m extremely grateful and honored to have had that validation early on when I had just started making art again.
For the latest Pen & Paper, Hypeart caught up with the reinvigorated artist to discuss the origins of her practice, the process of creating each of her highly rendered characters, and how art can be used as a form of therapy.
“I wouldn’t change anything, everything has come together to get me to where I am now.”
How did your alias “Poi” come about?
When I was younger, my family would call me either by my first name Keely or Alex because of my middle name Alexandra. So when I was in school and had a Tumblr blog with the username Poi, it just stuck as a nickname. It felt like I finally got to choose what I wanted to be referred to as.
Was your path to art straightforward? Meaning, did you know you wanted to explore the arts early on through college or has your journey been fortuitous?
I’ve always been connected with art as early as I could remember. My parents were both creative and my dad was the first person to teach me how to draw with charcoal and paint with oils. I feel lucky that art has had such strong roots in my family, it’s something that just seemed second nature when I was a kid. When I was older, late high school/early college, I actually stepped away from art for many years, solely focusing on pursuing journalism in music and pop culture. Although I look back fondly on that period in my life, I was definitely missing the creative satisfaction of visual art. After about five years of not even sketching anything, I decided to start drawing again but with digital illustration as the medium (and later incorporating 3D sculpting), and it just clicked. The process has had a lot of ups and downs, but I wouldn’t change anything, everything has come together to get me to where I am now.
Video Games were also a big inspiration for you growing up. Which ones in particular?
A huge inspiration! Realizing people could have a career being a concept artist for video games really pushed me. The games that really influenced my creative direction back then would have to be: Soul Calibur, Silent Hill, and early World of Warcraft.
Classical art, while not immediately apparent, also makes its way back into your work. Which periods in art history do you weave it into your digital illustrations?
Art history in general is such a special interest of mine, especially when it comes to the Baroque period and the Mannerism movement in classical art. From intense lighting and shadow to using figures to play with space and perspective, everything about it has always been fascinating.
Your art looks like Bratz dolls that have entered a futuristic dystopian world. How would you define your practice and what is your process to character development?
Ha! I love that analogy.
There are a number of features that reoccur in my work that I’ve been developing over the years. It’s a reason why I love looking back and recreating some of my older pieces to see what’s changed and what hasn’t. But those signature features, mainly the face, work as the starting point for most of my characters. From there, I try to complement the subject with an element that turns it into the focus of the concept; whether that’s a color combination, lighting style, mood, emotion, distorted perspective, accessory, etc. Narrowing down my pieces to a specific element really helps my creative process and gives me a sense of direction for each character.
“I just want people to be able to feel seen and feel confident as f*ck.”
Can you walk us through how you approach an illustration from start to finish?
The main part of my process involves developing the concept and ideation phase, which involves a me constantly sketching and writing notes. Not everything is useful, but there have been so many times I’m flipping through my sketchbook trying to find inspiration and some random idea I had three weeks ago ends up being the essence for a new piece.
After having a concept in mind, I start digitally 3D sculpting the work, and in post, I color correct and begin the digital illustration process. I’d say most of my work is 50/50 3D and digital illustration. But it really depends on the piece.
Your characters are confident, strong, promiscuous, and somewhat intimidating. Sexuality, identity, and female empowerment are key themes you explore through your art. Can you explain why these motifs are central to your practice?
For many years, I felt like I couldn’t be myself because of anxiety and depression. While it’s still a struggle, my characters embody the strength and attitude I strive for in my own life. That keeps me going, knowing that not only do I feel more confident because of the emotions I pour into my art, but that others connect with that as well. I just want people to be able to feel seen and feel confident as f*ck.
How was it like to work with Rosalía?
Absolutely amazing! When I think about that time it still doesn’t feel real. I’m extremely grateful and honored to have had that validation early on when I had just started making art again.
Besides being commissioned by musicians, you used to run an online publication where you interviewed artists. How do you think that early editorial work informs your art today?
My partner and I ran Golden Boy Press (GBP) for six years together and interviewed musicians and visual artists almost daily. It was a major turning point in my life and taught me so much about myself. I look back so fondly on those years. Consistency and communication are definitely the biggest aspects that have carried over into my art journey. Even before the work on GBP, my love of music has always been a focus and seeing that naturally transition into my art is something I’m always grateful for.
Do you dabble in physical painting or other tangible mediums, such as sculpture or installation?
Not as much anymore, mainly just pencil and paper when it’s not a final digital piece. But it is something I would love to explore again, maybe even seeing how those mediums could be incorporated into the digital side of my work. I still have a set of oil paints, tempting!
Any upcoming projects you’d like to speak about?
I recently launched my website and shop! Exploring how my work translates in the fashion world has always been a goal of mine and I’m extremely excited to see where it goes moving forward! Besides that, I’m working on visuals for some amazingly talented upcoming music artists, keep an eye out on my socials for announcements!
All artwork courtesy of Keely “Poi” Majewski for Hypeart.
