Gabriella Naser is a contemporary artist, illustrator, and occasional poet. Her studio, ‘House of Roesor’, was founded in 2014 and has evolved through many faces and places before finding its current home in Oldham, within the 1853 Collective.

Originally from Blackburn, Lancashire, Gabriella remains firmly rooted in her northern identity. That sense of grit and imagination continues to shape the way she sees the world and creates her work.

Her practice sits at the intersection of fine art and pop surrealism, blending traditional ink techniques—drawing inspiration from both western comics and manga—with intensely saturated digital colour. The result is a kind of controlled chaos: spontaneous and raw, often unsettling, yet deeply personal.

Gabriella describes her process as mind vomit: intuitive drawings that emerge without plan and only reveal their meanings in hindsight. Post-analysis, these works often reflect psychological concepts such as cognitive distortion, overload, and ambiguity tolerance, while also echoing dream interpretation, Freudian psychodynamics, Jungian archetypes, and spiritual symbolism.

Excess is a recurring theme across her practice—excessive colour, detail, and ideas—mirroring the overwhelming nature of contemporary life. Through tongue-in-cheek satire and diaristic imagery, her work reflects on identity, trauma, dreams, fears, sexuality, and mortality. It navigates the thresholds between realities: waking life, dream states, digital spaces, and the imagined “after.”

Influenced by pop culture, surrealist and absurdist philosophy, and her roots in comics and illustration, Gabriella favours ambiguity, symbolism, and poetry over conventional narrative. Her work invites viewers not to seek definitive answers but to discover their own interpretations within its layers of excess and meaning.

Her artistic development has also been shaped by the aesthetics and ideas of the Superflat movement, particularly its interrogation of consumerism, identity, and surface. While she does not claim the movement’s cultural context—rooted in post-war Japanese society—she engages with similar tensions, approaching them through the lens of her own time, place, and perspective.

At its core, Gabriella’s practice is an exploration of excess, identity, and perception—what it means to live, create, and dream in a world that feels overwhelming and insufficient, whilst at the same time feeling both too much and not enough.