FIN DAC - Art, Identity, and the Collective Consciousness
Photography: Rankin
In this edition of Author Magazine, we delve into a rare and intimate conversation with Fin Dac, the visionary street artist renowned for his striking murals that blend bold iconography with quiet introspection. His art doesn’t merely celebrate cultural icons; it reinvents them, using the public sphere as a canvas to explore themes of identity, agency, and legacy. In the interview, “Art, Identity, and the Collective Consciousness,” Fin Dac opens up about his creative philosophy, revealing a process that’s as much about connecting with a collective human experience as it is about personal expression.
As he reflects on his influences—Warhol’s audacity, Basquiat’s raw energy, Kahlo’s unflinching self-awareness—Fin Dac speaks to the complexity of making art that feels both timeless and fiercely relevant. This dialogue with Founder and Editor In Chief of Author Magazine Oona Chanel offers a unique window into his world, capturing the alchemy of aesthetic precision and philosophical inquiry that makes his work resonate on a global scale. For Fin Dac, each piece is more than a mural; it’s a conversation with the past, a meditation on the present, and a bold imagining of the future. This feature invites readers to experience his journey not just as an artist but as a thinker, whose art continually reflects and reshapes our shared cultural consciousness.
OONA: “Your work fuses contemporary art with cultural icons like Warhol, Basquiat, and Frida Kahlo. Beyond homage, how do you reimagine their legacies to speak to today’s cultural, social, or political concerns? Is there aspect to how you engage with these icons? In reinterpreting their legacies, do you feel you're tapping into a shared cultural consciousness that transcends time? What nuances of their work or personal histories resonate with you in a deeper, perhaps more spiritual way?”
FIN: “As I discuss in my upcomingshow book, this project gave me a unique opportunity to pause and truly reflect on my approach to making art—a first in my career. Immersing myself in the design choices, colour palettes, and techniques of these artists not only deepened my understanding of their work but also led me to a more profound awareness of my own style. I aimed to find a convergence point where their aesthetics could meet and blend seamlessly with mine. Initially, I gravitated towards my childhood favourites, driven by a personal connection. However, as the project evolved, I broadened my focus to include artists who held historical significance, shared similar perspectives, or had undergone parallel artistic journeys. Some were even chosen for the complexity of their relationships with their muses—historically fraught dynamics that I consciously positioned myself in contrast toin my own art career. In embracing these elements, I aimed to enter the mindset of these iconic artists, channelling their spirit and intentions while infusing them with a contemporary context. This allowed me to engage with their legacies in a way that feels both authentic and resonant with today’s cultural dialogue.
OONA: “If your art existed in a dimension where no one could perceive it, would it still hold meaning? When the act of observation is stripped away, does art retain its inherent value, or is its significance dependent on an audience? How does contemplating this void impact your understanding of creation and validation—both from others and from within yourself?”
FIN: “I believe there’s a distinction between the artist’s meaning and the audience’s meaning. For me, the act of creation carries intrinsic value because of what I experience in the process; I think that’s true for many artists. My commitment to this approach stems from the fact that external validation was never my driving force. That said, as an artist, you do need an audience to support your work for it to survive, thrive, and evolve. This dynamic can blur the lines between creating for oneself and for others. I imagine the lack of recognition was a source of deep frustration for someone like Van Gogh during his lifetime, yet history has proven his work was never without worth—just not valued in its own time. In my early career, financial reward wasn’t a consideration. I wasn’t creating for the sake of gain but because, for the first time, I felt completely aligned with what I was meant to put into the world. I trusted, perhaps naively, that if I remained authentic to that vision, I would ultimately receive what I needed or deserved in return.”
OONA: “Your portrayals of women, with their blend of beauty and strength, challenge traditional representations. What techniquesor cultural references do you find essential to reshaping the narrative of female representation in art? Is there an elements to your depictions of women, something that transcends the socio-political and taps into universal truths about identity, strength, and femininity? How does this contribute to your broader dialogue on representation?”
FIN: “From the very beginning, my intention was to neither objectify or sexualize the women in my work. To achieve this, I made a conscious decision to move away from the traditional, often power-imbalanced dynamic between artist and muse. Instead, I focused on granting my models complete agency in shaping how they were represented. I avoided traditional photoshoots or directed sittings, and instead, allowed them full controlover the selection of photos and poses they were comfortable providing for the work. This approach created an environment where the models were never left questioning my intentions or feeling unsure about the scenario. I believe this level of respect translates into the art itself—when the subjects are grounded in their own sense of power and autonomy, it becomes easier for me to reflect that strength and authenticity in the final piece. In this way, my portrayals aim to transcend the socio-political, reaching into something more universal about identity and femininity. By consciously respecting their agency, I seek to foster a narrative where beauty and strength coexist naturally, encouraging a broader dialogue on what it means to genuinely represent women without imposing external narratives onto their stories.”
OONA: “Your work with the Frida Kahlo Foundation is a honour. Were there moments in the creative process where you felt Kahlo’s presence, as if she were guiding your interpretation? How did you balance the responsibility of paying tribute to her image with your own creative instincs?”
FIN: “The creative process for this particular mural presented its own set of challenges, largely due to navigating the rights held by photographers who have a say in how Kahlo’s image is depicted, especially if it involves specific clothing or elements captured exclusively in their photos. The negotiations took an inordinate amount of time but it was crucial to respect the wishes of all creators involved. Despite these limitations, the essence of Kahlo—her strength, resilience, beauty, and distinctive style—made it clear that I would find a way to honour her legacy. She embodies everything I aim to convey in my work, so even within the constraints, there was an unshakeable sense of purpose guiding me. I approached the mural with deep reverence, balancing the weight of her legacy with my creative instincts to do justice to her image in a way that felt both authentic and powerful.”
OONA: ”Your murals frequently engage with cultural identities, such as Eurasian women in traditional dress. How do you navigate the fine line between cultural authenticity and artistic freedom in your representations? How do you ensure that your work honours the cultures you depict while also pushing artistic boundaries? Have you faced criticism for your approach, and how do you respond to feedback, particularly from the communities your work engages with?”
FIN: “My work aims to appreciate and celebrate these cultures, focusing on the women and the traditional attire that is gradually being overshadowed by modern trends. However, I strive to create a distinction from the conventional portrayals of women from these regions. There are key differences in the stance, posture, and gaze in my pieces—subtle elements that shift the power dynamic to the subject being viewed, rather than the viewer. I find myself drawn to places like Japan, where creativity is infused with a pursuit of absolute perfection, not just aesthetically but in every detail. This pursuit of precisionand dedication resonates with my own approach to art, where I strive for a similar level of rigor and integrity.My work blends Eastern and Western influences, much like some of my favourite artists—Aubrey Beardsley, Patrick Nagel, and Toulouse Lautrec. I don’t focus strictly on authenticity, but rather on respecting the culture while introducing my own alternative style and perspective. The painted mask motif, in particular, ensures that each piece is unmistakably my interpretation, rather than a direct representation.While I may have faced questions or critiques about my approach, I’ve always been open to listening and learning from the communities I engage with. My goal is to honour their stories, and if my work sparks a conversation or deeper reflection, then I see that as an opportunity to refine and grow as an artist.”
OONA: “As street art becomes a high-value commodity, how do you reconcile its raw, unfiltered origins with its current market status? Do you believe the commercialization of street art alters its purpose or impact.? As street art becomes a high-value commodity, how do you reconcile its raw, unfiltered origins with its current market status? Do you believe the commercialization of street art alters its purpose or impact?”
FIN: “Street art as a whole isn’t a high-value commodity—it’s only a select few artists who have reached that level of collectability. Similarly, the broader impact or purpose that’s often associated with street art can really only be attributed to a handful of names. For most artists, it’s about doing what they love and finding a way to keep going. Personally, I’ve stayed true to my original intentions: simply to put my work into the world to be seen. Over time, my studio work and street work have naturally diverged from each other, allowing me to approach them with distinct mindsets. When I’m creating in public spaces, my aimis to connect with the community and the surroundings in a meaningful way. In the studio, however, I’m painting purely for myself, driven by my own creative instincts. By maintaining this separation, I can keep the raw spirit of street art alive, regardless of its evolving status in the market.”
OONA: “Your engagement with social causes through art often feels more like a statement than charity. How do you choose the causes you support, and how do you see your work making a tangible impact? Is there a particular project or cause that felt especially transformative for you, where you could see your art effecting real change? How does this impact shape your artistic decisions moving forward?”
FIN: “I gravitate towards projects where I can have a direct, meaningful involvement and a genuine connection to the cause. For me, these projects sit at the intersection of ‘art therapy’—where the act of creating brings healing to the artist—and ‘art as therapy,’ where the artwork itself provides solace or inspiration to those who engage with it. This dual perspective allows me to approach each project with both authenticity and purpose. One particularly impactful project took place in Cambodia, where my collaboration with the Terry McIlkenny Trust helped raise funds to establish scholarships for students at The Phrase School of Performing Arts. Seeing the direct results of that effort and witnessing how it enabled young artists to pursue their passion was deeply fulfilling. However, the most transformative project to date was with The Nightingale Project in London where I painted a mural in the private garden of a women’s mental health facility. The impact wasn’t quantified in monetary terms, but rather in the expressions of theinpatientsthere. I invited andencouraged them to add their own colourful touches to the mural, turning it into a living metaphor for how they could colour their lives when they believed in themselves. Witnessing that transformation was incredibly powerful. These experiences continually reinforce my commitment to projects where the work has a tangible, human impact. Moving forward, I’m inspired to keep seeking out opportunities where art can act as a bridge to healing, growth, and transformation.”
OONA: “You’ve already explored themes of cultural identity, gender, and legacy in your art. Are there new, uncharted territories that are calling to you? What subjects or themes are beginning to pull you in different directions? How do these align with the trajectory of your work thus far, and what excites you about exploring them in the future?”
FIN: “Working on my new exhibition has revealed angles I hadn’t even considered before. In paying homage to the artists who’ve inspired me, I ended up learning just as much about myself and my own approach as I did about theirs. I’ve begun incorporating some of these insights into my new work, exploring an intersection between my usual style and two of my greatest artistic influences: graphic novels/manga and Japanese woodblock prints. This blend has the potential to bring an added element of playfulness to the process, and possibly the final artworks as well. As for trajectory, it’s not something I consciously focus on. My career has always unfolded organically, without forcing it in any specific direction. I trust that whatever force is guiding me will continue to do so, and I’m content to follow it wherever it leads, as long as it feels instinctively right. That sense of fluidity and openness is what excites me most about the future and where it might take my work.”
OONA: “Do you see yourself as the originator of your work, or merely a conduit for something larger? Many artists describe themselves as vessels for creative forces that flow through them rather than from them. Do you believe you channel a greater consciousness in your work, and if so, how does this belief shape your creative process? Is there a metaphysical connection between the artist and the art that transcends personal authorship?”
FIN: “I definitely see myself as a conduit. I’ve always felt that I’m not fully in control of what I create, especially given that I have no formal artistic training. When I’m painting, it might seem like I’m deeply focused, but in reality, I’m often in a sort of autopilot state, completely zoned out. Hours can pass without me fully realizing it, almost as if I’m not entirely present in my body. Even in the design phase, while I do prepare initial concepts on my laptop or iPad, the final painting rarely follows the digital blueprint exactly. Colours, patterns, and certain elements seem to come together organically on the canvas, often shifting away from the original plan in ways I didn’t consciously decide. I’ve learned to trust this process and simply allow it to happen. There’s something liberating about surrendering to that creative flow, and it shapes my work in ways that feel instinctive and authentic, beyond my own intentions or preconceptions.”
OONA: “If you removed yourself from the narrative of your art—stripping away your identity, your name, even your signature—would the act of creation still fulfil you? How would this self-imposed anonymity alter your metaphysical relationship with your work? Would your art take on a more universal quality, or do you believe your presence, however unseen, remains integral to the art itself?”
FIN: “For a significant part of my street art career, my name wasn’t attached to my murals at all. In the beginning, I signed my work with a dragon logo instead of a name, and when I eventually stopped using that logo, I still didn’t feel the need to add my name. I believed that the distinctive colour mask around my female subjects’ eyes would serve as a recognizable marker of my work or brand. It wasn’t until around 2018 that I started signing my name on my work after creating a new logo. In my opinion the absence of a signature or name allows the art to stand on its own, creating a more open connection between the viewer and the work, unfiltered by the influence of my identity. For me, the fulfilment comes from the act of creating and the connection it forms with the audience, regardless of whether my name is there or not. While my presence is embedded in the work through the themes, style, and recurring elements, I believe stripping away my identity wouldn’t diminish that connection—it might even enhance it by inviting viewersto engage more deeply with the art itself.”
Images by Westcontempeditions
Interview by Oona Chanel
