Alright – so today we’ve got the honor of introducing you to Anna Gabriella Herrera Caverzan. We think you’ll enjoy our conversation, we’ve shared it below.
Anna Gabriella, looking forward to hearing all of your stories today. How did you learn to do what you do? Knowing what you know now, what could you have done to speed up your learning process? What skills do you think were most essential? What obstacles stood in the way of learning more?
How did you learn to do what you do?
Honestly? By doing. I never waited until I felt ready. I said yes to projects before I fully knew how to execute them, and then figured it out. A lot came from obsessive observation looking at art, design, fashion, spaces, people and from moving between disciplines without apology. Illustration led me to painting, painting to photography, photography to motion, motion to performance. Each practice fed the others. Living in different countries and cultures also shaped me deeply. You absorb things you can’t learn in a classroom. And now, artificial intelligence and software have become part of that same curiosity, I’ve always been drawn to whatever expands what’s possible.
Knowing what you know now, what could you have done to speed up your learning process?
Asked for help sooner. I spent a lot of time trying to figure things out alone when the right conversation with the right person would have cut years off the process. I also would have documented everything from the beginning, the process, not just the result. And I would have trusted my instincts earlier instead of looking for external validation before moving forward.
What skills do you think were most essential?
Color intuition. The ability to hold multiple visual languages at once. Knowing how to talk about my work that’s underrated. And adaptability. Being able to move between a branding brief and a canvas and a live performance without losing the thread of who you are that’s the real skill.
What obstacles stood in the way of learning more?
Fear of not being legible. When you work across disciplines, people want to put you in a box. That pressure to specialize made me doubt myself for a long time. Also, not seeing myself represented as a Latin American woman making this kind of work in European contexts. You spend energy searching for permission that was never yours to ask for.
Scaling has been its own challenge too. And then there’s the cultural piece speaking from a place of Mestizaje, of syncretism, of mixed roots and multiple influences, and having it misread. People sometimes hear identity politics when all I’m talking about is a way of making. Mestizaje for me is a creative methodology, not a statement of conflict. That misreading costs you something.
Great, appreciate you sharing that with us. Before we ask you to share more of your insights, can you take a moment to introduce yourself and how you got to where you are today to our readers.
About Anna Gabriella / RandomLovers
I’m a multidisciplinary artist, symbolic researcher, and creative consultant based in Barcelona, working under the name RandomLovers. My practice goes from illustration, painting, photography, digital art, motion graphics, and live performance and increasingly, artificial intelligence as a creative tool. The thread that runs through all of it is color. Color as language, as emotion, as a way of making the invisible visible.
I was born in Venezuela and have lived and worked across different countries and cultures. That experience of being between worlds between Latin America and Europe, between tradition and experimentation, between the spiritual and the visual is not just biographical context. It’s the actual methodology. I work from a place of Mestizaje and Syncretism: the idea that the most interesting things happen at the intersection, when different systems of knowledge, aesthetics, and meaning meet and create something new. My creativity is entirely at the service of that discourse, the blend. The meeting point. The place where things stop being either/or and become something richer.
As a symbolic researcher, I’m drawn to the hidden languages that cultures carry in images, in rituals, in forms, in color and to what happens when those languages encounter each other. That research feeds everything I make and every brand I work with. It’s not academic in the traditional sense. It’s alive, embodied, and always in motion.
I came into this work the way most honest creative people do by following curiosity without a map. Illustration led me to painting, painting to photography, photography to motion, motion to performance. I never waited until I felt ready. I said yes before I knew how, and figured it out. That instinct to learn by doing has stayed with me, and it’s what drew me to artificial intelligence and new software as soon as they became available. I’m genuinely excited by whatever expands what’s possible.
On the consulting side, I bring over ten years of experience as an art director and brand consultant across industries fashion, design, energy, hospitality, real estate, and more. I help brands find their visual and conceptual identity, develop content strategy, and build the kind of aesthetic coherence that makes people feel something before they can explain why. I work with clients who want more than execution. they want a creative partner who thinks with them.
What sets me apart is that I don’t separate the art from the strategy. The same sensibility that goes into a painting goes into a brand narrative or a content calendar. My clients get someone who understands both the emotional and the commercial dimension of visual communication.
What I’m most proud of is staying true to the practice across everything never diluting it to fit a brief, never abandoning the depth to chase a trend. the performance work, the research into Venezuelan abstract women artists, the consulting projects, they all come from the same place.
What I want people to know is this: RandomLovers is not an aesthetic. It’s a way of working. It’s the belief that everything connects, disciplines, cultures, histories, intuitions and that the most powerful creative work lives exactly there, in that connection.
What’s the most rewarding aspect of being a creative in your experience?
The conversation. Not the one that happens out loud, but the one that happens inside someone when they encounter the work. That silent dialogue between the craft/exploration and the person that’s what I’m after.
I make art to have a dialogue with consciousness. Mine first, and then whoever is willing to meet me there. There’s something that happens when color, symbol, and image align in the right way it bypasses the rational mind and speaks directly to something deeper. That’s not mystical thinking, that’s just how art works when it’s honest. And that moment of contact, of recognition, of someone feeling seen or awakened or expanded that’s the whole reason.
I genuinely believe art can bring light. Not in a naïve way, but in the very literal sense that it can shift how someone sees themselves, others, the world they’re moving through. If I can contribute even a small amount of that, I’ve done something worthwhile.
What also drives me is the idea of stimulating collective consciousness. Art as an open door not a statement, not a conclusion, but an invitation. Come in. Look around. What do you find here that’s also yours? I want people to leave the encounter with the work feeling more curious, more connected, more alive to the complexity of being human in this particular moment in history.
And underneath all of that I want to encourage people. Simply that. To look at what I’ve built with Randomlovers and think: it’s possible to live creatively, to refuse the box, to blend everything you are into something that’s fully yours.
Let’s talk about resilience next – do you have a story you can share with us?
The story is migration. That’s the one.
I left Venezuela and built a life, an identity, and a practice from scratch in a country that wasn’t mine. No safety net, no institutional support, no familiar context to lean on. I financed everything myself. Every project, every move, every reinvention, self-funded, self-willed, self-believed. There were moments where the practical weight of that was enormous. But you figure it out, because the alternative is disappearing, and disappearing was never an option.
What migration teaches you — if you let it — is that identity is not location-dependent. You carry it. I arrived somewhere new and had to make myself legible in a new language, a new cultural context, a new professional landscape. And in doing that, I found something I might not have found otherwise: the understanding that I was always going to be an artist. Not because of the circumstances, but in spite of them. There’s something they say, what is destined to shine will shine wherever it is. I hold onto that. Not as a passive belief, but as an active one.
What my present reminds me, every day, is that I can create my reality from a place of consciousness. From intention. like these words to you guys.
From respect for what I am at the core, which doesn’t change regardless of what I’m doing whether I’m painting, consulting, performing, researching, or navigating bureaucracy in a second language. I am always an artist. That’s not a title. It’s the operating system.
Resilience, for me, isn’t about surviving hard things. It’s about remaining yourself while the hard things happen.
Contact Info:
- Website: https://www.randomlovers.com
- Instagram: @randomlovers
- Facebook: https://www.facebook.com/Shopbyrandomlovers/
- Linkedin: https://www.linkedin.com/in/randomlovers/
- Twitter: @randomlovers
- Youtube: https://www.youtube.com/@randomlovers
- Other: https://linktr.ee/randomlovers
Image Credits
no applicable