Engineering, Nature and the Art of Carbon Fibre
Originally from Moldova and now based in Northamptonshire, self-taught artist Ana Rotari brings together the precision of advanced engineering and the expressive freedom of nature. Her distinctive wall-based works combine carbon fibre, modelling paste, acrylic paint, lacquer and resin, creating sculptural surfaces that shift with the light.
Before establishing Ana Rotari Art, Rotari completed a law degree and later gained professional experience within the automotive and Formula One composite manufacturing industries, working as both a laminator and inspector. This technical background introduced her to the extraordinary strength, intricacy and visual possibilities of carbon fibre.
Rotari’s practice explores the relationship between natural and human-made design. By placing the disciplined geometric weave of carbon fibre alongside richly textured and organic painted surfaces, she creates a dialogue between structure and spontaneity, technological innovation and the natural world.
Are you self-taught, or did you undertake formal artistic training?
I am a self-taught artist.
How would you define your visual language or conceptual approach?
I explore the brilliance of both natural and human-made design. My work considers how these two forms of creativity connect, contrast and influence one another.
Can you describe your creative process from conception to completion?
I have two principal creative processes, which I use independently or combine to create three-dimensional wall sculptures.
Carbon Fibre Artwork
The process begins with pre-impregnated carbon fibre, commonly known as “pre-preg”. These are frozen sheets of carbon fibre containing a controlled amount of resin. The material is flexible and slightly tacky, making it possible to shape and layer it almost like a form of high-technology origami.
The work is then placed inside an autoclave, which operates like an industrial pressure cooker. Under intense heat of approximately 180°C and pressure of around 100 psi, the flexible carbon-fibre material is transformed into an exceptionally strong and lightweight structure.
Once cured, the piece is carefully hand-trimmed. For more intricate artworks, I refine the edges manually to achieve the precision required while retaining a sense of the human touch.
Diamond-cutting tools are used where necessary, as carbon fibre is extremely strong and must be cut without damaging or fraying its structural weave.
Finally, I apply several coats of high-grade lacquer. This is the stage at which the material truly comes alive. The lacquer acts almost like a lens, enhancing the depth of the weave and creating carbon fibre’s distinctive three-dimensional shimmer. It also protects the resin from ultraviolet light and produces a highly polished, mirror-like finish.
Textured Artwork
For my textured works, I use modelling paste to build dimension and movement across the surface of the painting.
The work is then developed using high-quality acrylic paints. Depending on the individual piece and the finish I wish to achieve, I may also coat the completed artwork in resin. This creates a glossy, reflective surface that enhances the colours, textures and changing effects of light.
Which artists or artistic traditions have most influenced you, historically or contemporarily, and why?
Bob Ross initially inspired me to begin creating art, and my early mountain paintings reflected aspects of his style and approach.
While at school, I was fascinated by the paintings, drawings and sculptures of Leonardo da Vinci. His ability to unite artistic observation with science, anatomy, invention and engineering continues to resonate with my own interest in the relationship between creativity and technical design.
I am also interested in the Italian fresco tradition and the way artists have historically worked with texture, material and architectural surfaces.
What personal, cultural or environmental influences shape your practice?
I am originally from Moldova, and moving to a new environment presented challenges as I searched for a fulfilling professional path. Despite completing my education and earning a law degree, I never felt that I had found my place within a conventional working environment. I struggled to feel genuinely passionate about the work I was doing.
I later gained valuable experience within the automotive and Formula One composite-manufacturing industries, working as both a laminator and an inspector. This developed my interest in engineering and planted the idea of exploring how natural and human-made design intersect.
Throughout these different stages of my life, art remained a constant and unwavering passion. My enduring connection to creative expression eventually led me to establish Ana Rotari Art and share my artistic vision with a wider audience.
Where is your studio based, and how does the space inform your creativity?
I currently work from a home studio. Having a dedicated creative space at home allows me to move between painting, experimentation and the more technical stages involved in producing my carbon-fibre works.
What bodies of work or projects are you currently developing?
I am beginning to develop a new body of work that showcases the relationship between human-made and natural design.
In the future, I plan to investigate more deeply how nature has influenced engineering, technology and design. Through this work, I hope to celebrate both the intelligence found within the natural world and humanity’s ability to observe, interpret and build upon it.
Where can collectors encounter or acquire your work?
I am a member of Northants and Rutland Open Studios and exhibit with the organisation twice a year.
A selection of my work is currently on display at Jackdaw Gallery in Oundle, Northamptonshire, and I regularly participate in exhibitions throughout the Northamptonshire area.
Collectors can also view and purchase available works through my website: