Born in Czechoslovakia, Mila gained an MA degree in Art, English Language and Psychology at the Charles University in Prague, whilst simultaneously studying for her BA degree in Fine Art Printmaking at the University of Gloucestershire.
Mila Furstova (Rwa) is an award winning internationally exhibited artist, who has shown in 20 solo shows in many countries including Britain, USA, France and the Czech Republic over the last decade. During this time, she has won 14 prestigious awards. Her work has become part of important private and public collections, including that of Queen Elizabeth II and the V&A Museum in London and has featured in numerous publications.
Mila Furstova created the album art for Coldplay's 6th album Ghost Stories and covers for the NY Times No.1 Best Selling book series Mortal Instruments.
In 2001, Mila Furstova received her Masters degree at the Royal College of Art and has subsequently lectured at Coventry University and The University of Gloucestershire.
In 2003, Mila was appointed the first Artist in Residence at the Cheltenham Ladies' College, where she founded and ran an Etching studio till 2010.
In 2009, Mila Furstova became the youngest ever elected Academician at the Royal West of England Academy in Bristol.
In 2014, Mila's work reached over 400 million people when she was commissioned to make the artwork for the Coldplay Ghost Stories album and 4 singles.
In 2015, the sale of Mila's Coldplay artwork raised over £100 000 in aid of children's charities.
‘My work is an intimate portrayal of the human soul explored through the medium of etching, expressed in a distinctly female voice.
The content is inspired by universal and personal mythologies. The work is poetic and often narrative in its nature and reads as both contemporary and timeless. I cut, fold and overlay my works, often printing on glass or other transparent surfaces thus creating imagery that is multidimensional in terms of both form and meaning.
The feminine voice of my work is tactile and urgent, fragile yet strong, gentle yet enquiring. At times it floats weightlessly above the labyrinth of being a woman at other times it delves into the darkest corners of the female psyche.
The technique of etching uniquely reflects and informs the spirit of my work. I draw with a needle onto a plate, allowing the image to quietly grow, whilst a fragile silver line emerges from a dark background as if a distant memory was traced from the unconscious. The initial image undergoes metamorphosis as the alchemical process of etching progresses through each of its stages.’