Don't be deceived by her Germanic moniker: Auf Wiedersehen is not a pretzel-loving fraulein from Central Europe, but an artistically-inclined lass from the Garden State. The Melbourne-based lady – who goes by Jacqueline Smith to her friends – draws and watercolours shy girls and teeny tiny landscapes, inviting us for a little peek at what dwells in her head. We've got to say, it's mighty lovely in there.

We got in touch to ask a few questions about her artwork.

What is your name and how old are you? My name is Jacqueline Smith, and I illustrate under my pseudonym Auf Wiedersehen. I'm 22 and a half years old.

Where were you born and where do you live now? I was born and grew up in a little place called Cape Schanck, in southern Victoria. It's not really a town as much as it is rolling hills and pine forests, with a lighthouse. I'm now living in Yarraville, in Melbourne's west, with my partner and some houseplants; dreaming of adopting a dog.



How does where you grew up and where you live now affect your art? Cape Schanck is a secluded part of the world – it's kind of tucked away from the major towns by pine forests on one side, and rolling green paddocks with the sea on the other. Even though it's only a short drive from town, it's so quiet there and kangaroos and echidnas roam around. Being so close to these kinds of things gives you an appreciation of the beauty of Australian nature, and definitely inspired me from a young age. Yarraville is fantastic; it feels like an inner city suburb but it's far enough from the city that I don't feel restless. Living in Melbourne is constantly inspiring and affirming – exposure to so much art in one city gives me so many ideas and opportunities to expand upon Auf Wiedersehen, but also reinforces my own creative identity.

Please describe the space where you do most of your creation – whether it's your art studio or kitchen bench! I occupy the 'spare room' in our apartment. It's quite hectic really – I work at a huge, poorly built desk where I'm surrounded by plants and artworks from my favourite artists. I sit right in front of the window so I can look down upon the people walking by and soak up the last warm rays of the afternoon sun. I dream of having a studio one day, but for now this little space is all my own and it's lovely.



What kind of mediums do you use? Why do you choose to use these mediums? For my illustrations I tend to favour greylead pencils and watercolours. I like the delicacy the pencil can achieve, and the sweetness of the opacity of watercolours. I do experiment with other mediums when I can - just recently I began making Tiny Landscapes for myself, by making mountains with hand‐painted clay.

Is there a running theme to the work you create, or do you just make whatever comes to mind? I'm very heavily influenced by Scandinavia – particularly by my short time spent in Iceland. Mountains, forests, secret worlds, shy girls, folklore and the stories of Huldufólk all play a huge part in my works and are all motifs I tend to use again and again. I use the feeling of shyness, sadness and anxiety in a lot of my pieces, and I have a habit of 'enveloping' my Shy Girls beneath things. They are often wrapped within their landscape or the tangible 'feelings' I surround them in. Sometimes it's totally random and isn't influenced by anything at all – I'll just have a random thought and a drawing will sprout from there.



What kinds of ideas and things are you working on at the moment? I have an exhibition with two friends called Huldufólk that explores the folklore of Iceland, regarding 'Hidden Folk' – magic beings that inhabit Iceland and are very much a part of Icelandic storytelling and culture. I'm immersing myself in the hunt for that magic in our landscapes; those intangible feelings you have when you're out alone in the forest; the feeling that something is there, watching you. The kind of magic you find within nature and the connectedness that we lose as we grow up to that very magic in our surroundings. I'm also working on a zine called SHY GIRLS that chronicles little everyday moments as an anxious person in a big city. To fill in some free time between exhibitions I've also started up commissions for Auf Wiedersehen style portraits.

If you were to teach an art appreciation class, what kind of lessons would you try to teach your students? I would teach them something that took me a long time to realise for myself - that art doesn't have to be what other people see, but rather can be an invitation into the things inside your own head. To allow someone a window of understanding of these things, to me, is far more impressive than a carbon copy of what's in front of you. Ultimately, you should create what you want to create – create for yourself, and not for others.



Do you think people need to understand the artist's intention to appreciate the art? I think context is always an 'added bonus' to a piece. That extra layer of understanding can totally change your perception of someone's work. A beautiful piece can become something else entirely when married with the thought behind it.

What do you doodle when you are daydreaming? Always mountains, lots of blushing girls and lately lots of hands – I'm trying to practice.

What other budding artists do you love? I love the work of my pals Julia Trybala and Aaron Billings. Couldn't think of better matches to be a part of Huldufólk with. Bonnie Draws has some lovely works, and my friend Daisy Wharton of Skeleton Road makes some fantastically funny things too.



What do you enjoy doing when not creating art? I like to people watch. One of my favourite pastimes is to take a notebook out and sit and draw people around me. Candid sketches are so exciting; sometimes when I am drawing someone I really feel like I'm privy to a secret moment. I haven't been caught yet. I also like to drink coffee, and pat people's dogs.

Where can we see more of your work?
Website: aufwiedersehen.com.au
Instagram: @ohaufwiedersehen
Facebook: facebook.com/aufwiedersehenillustrated