Tea Stražičić

Who is Fluff Lord Original?

A fictional character I created in my early 20s, meant to look like a pink fluffy space princess.

I'm still writing a book about her universe, Fluff Lord Hegemony. It was always my dream to turn it into an animated TV show for kids one day.

But then it became my online alias, and it stuck to this day.

(Original Fluff Lord, designed in 2014. during ASF studies.)

Your characters look like they walked out of a beauty advertisement but accidentally stepped into a surreal dream where anatomy follows emotional logic rather than biology. When you distort the body like this, are you chasing elegance, discomfort, or that strange moment where the viewer can’t decide which one it is?

I can’t decide myself. That uncertainty is where the logic of all my work comes from. I’m very mutable.

Another issue is that, even with a lifetime of education, I still can’t paint in a way that perfectly replicates my exact vision. So I compensate by enjoyably getting lost in my own soup.

What comes out are distorted documents. Pictures taken in the Zone of dreams and nightmares.

Were you influenced by anime aesthetics at some point, or did the style evolve from somewhere stranger?

Overwhelmingly so, I grew up watching anime and drawing my own Pokemons. I admire anime deeply and often wish I could draw like some of my favorite mangakas.

I’m also shaped by my father’s comic style, both his own drawing and his collection of Heavy Metal and Dark Horse comics.

I think that mix, combined with something I can only describe as a Slavic handwriting, keeps resurfacing in my work.

The internet regularly produces beauty that feels strangely artificial yet irresistible. Do you think digital tools allow artists to create a new form of beauty that is impossible outside the screen?

A decade ago I was quite excited about digital art. I used to call it “the swamp.” But nowadays I find a lot of it boring, especially the more trendy things.

I enjoy the middle ground, works that exist in both realms, or somewhere in those liminal spaces. I’m always excited when I visit a sculptor or sculptress. Beautiful things have soul. They can be anything made with love and emotion. I love delivering my own digital creations out of the computer and onto walls, into physical spaces.

Recently it popped up that someone uploaded a fruit fly’s consciousness into a computer, and now she exists inside a game engine. That idea reminds me of themes I explored in my earlier video works, jumping between bodies with organs and bodies without them.

credits

Official IG page of Fluff Lord, tap fluff_lord_original