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The Art of Encounter

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SALON, O PRIMEIRO

SALON, O PRIMEIRO

41 artworks •

Curated by Subjektiv, Francisco Duarte Coelho

First Art Encounter

First Art Encounter

75 artworks •

Curated by Subjektiv

French Touch

15 artworks •

Curated by Subjektiv

Geometry Speaks

Geometry Speaks

56 artworks •

Curated by Subjektiv

Art Beyond Canvas. Grown, Stitched, Burnt, Bent

Art Beyond Canvas. Grown, Stitched, Burnt, Bent

43 artworks •

Curated by Subjektiv

Kinetic Stillness

Kinetic Stillness

28 artworks •

Curated by Subjektiv

Art That Breathes

Art That Breathes

31 artworks •

Curated by Subjektiv

Echoes and Visions

Echoes and Visions

50 artworks •

Curated by ArtShield

Instytut Avtomatyky

Instytut Avtomatyky

31 artworks •

Curated by Instytut Avtomatyky

Myroslava's Mosaic

Myroslava's Mosaic

13 artworks •

Curated by Subjektiv

Мистецтво Жити

Мистецтво Жити

103 artworks •

Curated by Subjektiv

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Curated selection of artworks that inspire and captivate

Featured Selections

SALON, O PRIMEIRO

SALON, O PRIMEIRO

41 artworks •

Curated by Subjektiv, Francisco Duarte Coelho

First Art Encounter

First Art Encounter

75 artworks •

Curated by Subjektiv

French Touch

15 artworks •

Curated by Subjektiv

Geometry Speaks

Geometry Speaks

56 artworks •

Curated by Subjektiv

Art Beyond Canvas. Grown, Stitched, Burnt, Bent

Art Beyond Canvas. Grown, Stitched, Burnt, Bent

43 artworks •

Curated by Subjektiv

Kinetic Stillness

Kinetic Stillness

28 artworks •

Curated by Subjektiv

Art That Breathes

Art That Breathes

31 artworks •

Curated by Subjektiv

Echoes and Visions

Echoes and Visions

50 artworks •

Curated by ArtShield

Instytut Avtomatyky

Instytut Avtomatyky

31 artworks •

Curated by Instytut Avtomatyky

Myroslava's Mosaic

Myroslava's Mosaic

13 artworks •

Curated by Subjektiv

Мистецтво Жити

Мистецтво Жити

103 artworks •

Curated by Subjektiv

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Making of CAD 180116

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Dans mon atelier, où je peins au sol. La touche finale (et désolé pour le son 😅)

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Maria R Saunders

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Processus de création dans mon atelier!

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Painting process

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Art process. The painting is done with acrylic paints on canvas.

Eugene Pokutnev

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Few shots and fragments from working process.

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Making of Dreamscape #4

Carolina Sardinha

@carolinasardinha

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My studio. Working process. I am painting a still life with aloe.

Artem Andreichuk

@artemandreichukartist

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The process of making a mosaic

Volodymyr Mamchur

@mamchur_volodymyr_art

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Process of Leopard

Oksana Fedchyshyn

@dearoksanafedchyshyn

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Painting - Subjektiv.art

Drawing - Subjektiv.art

Sculpture - Subjektiv.art

Street Art paintings - Subjektiv.art

Street Art paintings

Pop Art paintings - Subjektiv.art

Pop Art paintings

Abstract paintings - Subjektiv.art

Abstract paintings

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Meet our Artists

Artwork Svitlana Ahranovska - Subjektiv.art

Svitlana Ahranovska

Artwork Bohdan Burenko - Subjektiv.art

Artwork Muriel Evangelista - Subjektiv.art

Muriel Evangelista

Beaux Arts Paris 1983-1990

Artwork Nataliia Brichuk - Subjektiv.art

Nataliia Brichuk

Natasha Brichuk, known as Notuko, paints in the language of memory. Raised in Rivne, Ukraine, she grew up surrounded by the vivid patterns of embroidered tablecloths, the warmth of painted ceramics, and the quiet grandeur of old Ukrainian architecture. These objects weren’t just decoration—they were stories, passed down through generations, whispering of heritage, resilience, and identity. But tradition, as she saw it, was not static. It pulsed with life, adapting, shifting, existing between past and present. It is this in-between space that Notuko inhabits as an artist. She pursued decorative and applied arts, specialising in ceramics, but painting became her true medium for storytelling. What began as a simple fascination evolved into a bold artistic language - where folk motifs meet abstraction, where Byzantine echoes intertwine with modern fluidity. Her figures emerge as symbols rather than individuals, their forms at times dissolving into textured layers of colour, as if caught between reality and memory. Improvisation is at the heart of her process. She embraces instinct, letting her brushwork capture fleeting emotions and intangible histories. Her compositions often feel like fragments of a grander, unseen whole — inviting viewers to reconnect with traditions, not as relics, but as living, breathing experiences. Notuko’s works have traveled far beyond her hometown, exhibited across Ukraine, Europe, and the UK. Yet, her essence remains rooted in the stories of home — the unspoken ties between past generations and those still to come. Her art is a conversation between centuries, a delicate balance of structure and spontaneity, of inherited symbols and contemporary expression. To experience Notuko’s work is to step into a world where tradition doesn’t belong to the past—it evolves, just like us.

Artwork Oksana Fedchyshyn - Subjektiv.art

Oksana Fedchyshyn

Oksana Fedchyshyn (b. 1999, Ukraine) is an artist based in Ukraine. Graduated in Painting at Lviv State College of Decorative and Applied Arts Ivan Trush and in Graphic Design at Lviv National Academy of Arts. Fedchyshy is inspired by folk art, mythology, and people. She often turns to the topic of the human connection with nature and the metamorphosis of bodies. Her art becomes a dialogue between inner and outer worlds, where humans and animals coexist in harmony, sometimes merging with each other to reveal deeper truths about who we are. In her work, Fedchyshy often turns to simple naive motifs, images of various fictional, often zoomorphic characters. Such visual images easily arose from poems rich in aphorisms and metaphors. Works of their kind conduct a constant dialogue with poetry. In 2018, she was awarded the Index Mariusz Kazana competition prize and held her first solo exhibition. Since then, she has exhibited her work in solo and group shows across Ukraine, Poland, and Germany.

Artwork Myroslava Perevalska - Subjektiv.art

Myroslava Perevalska

Some artists paint what they see. Others paint what they dream. Myroslava Perevalska paints what she feels, and, more importantly, what she fears losing. In a world rushing forward, she is an artist who asks us to slow down, to breathe, to see before the colours fade, before the emotions slip away, before time moves beyond our grasp. When we spoke, she described her connection to art in a way I had never heard before. “ think of myself as a fish,” she told me. “ fish that doesn’ question the water, that doesn’ think about how deep it swims. It just exists.” Art is her element, her lifeblood, and her way of understanding the world. It’ why, even as war reshapes the reality around her, she continues to create, not just as a form of resistance but as a way to document the truth as she experiences it. Her paintings are immediately recognisable, figures emerging from bold, urgent strokes of red, white, and black. Red, she told me, is the colour of life, of passion, of survival. It pulses through her work, a constant heartbeat. But it is also the colour she fears losing. “ greatest happiness,” she said, referencing Borges, “ when a blind man dreams of red.” The idea of losing that sensation, of not being able to feel the depth of colour, is her deepest fear. But instead of running from it, she embraces it, pours it into her canvases, ensuring that even if time erodes memory, the intensity of her vision remains. As we talked, her thoughts spiralled outward - philosophy, history, technology, even the fate of humanity. “ are all on the Titanic,” she told me. “ comfortable but unaware of what’ coming.” The world is changing too quickly. Wars, pandemics, artificial intelligence, isolation. She fears we are forgetting how to truly be present. That people are becoming less human. She sees this loss reflected in modern art, how simple narratives and raw emotion are disappearing, replaced by a detachment from the soul of creation.

Artwork Sophie Le Gendre - Subjektiv.art

Sophie Le Gendre

Based in Paris and passionate about images, Sophie le Gendre is recognised by the Fine Art photography community as a woman with innovative talents. Always in search of a new graphic dimension, the French photographer shares with us her universe where resonant Breaths sparkle. Her works, on one hand decorative and on the other transcendental, illuminate our eyes, and without warning, they shake and pierce our intimate memories. Each photo is a poem, an ode to life, an unfailing optimism. Sophie assumes her role as guardian of the light. Accustomed to rewards, in France and abroad, Sophie won the prestigious contest « Objectif femmes » (Paris, 2019) , the first prize for Photography at the Florence Biennale (Italy, 2021) and a New York press prize. Her works are regularly published in renowned magazines such as Open Eye magazine / Elle International / Clam Magazine / Art Newspaper Daily.

Artwork Taras Sereda - Subjektiv.art

Born in Ukraine in 1991, Taras Sereda’s artistic journey is one of evolution, both in geography and expression. Beginning with a foundation in Industrial Design at the State Academy of Arts and Design in Kharkiv, he was trained to see structure, balance, and function. But art was never just about function for Taras, it was about feeling. In 2011, his path took an unexpected turn when he moved to New York City, a transition that reshaped both his worldview and his artistic language. In the charged energy of New York, his work began to shift. While his early practice was rooted in classical objectivism, his artistic language became more fluid, intuitive, and personal. He embraced charcoal and watercolour that allowed both precision and spontaneity — creating delicate yet bold line drawings that exist in a space between stillness and movement. His paintings often feel like echoes of fleeting emotions, subtle and restrained, yet profoundly impactful. Occasionally, he steps into oil painting, where the contrast is striking. Here, his work transforms — brighter, more visceral, with thick, expressive brushstrokes. If his charcoal and watercolours are whispers, his oil paintings are declarations. This duality is what defines Taras’s artistic approach: restraint and release, control and chaos, simplicity and depth. His themes are deeply personal—reflections of relationships, self-portraits, quiet observations of still life. His subjects seem caught in moments of introspection, mirroring the artist’s own exploration of identity and experience. The tension between intimacy and distance is a constant, giving his work a quiet but persistent resonance. Now based between Paris and Berlin, Taras has taken his art to international audiences. His works have been exhibited in major European art capitals, featured in auctions, and collected by those who are drawn to their quiet power.

Artwork Oleksiy Belusenko - Subjektiv.art

Oleksiy Belusenko

In the quiet, contemplative spaces of Oleksiy Belusenko’s paintings, time feels like it has softened, lingering between memory and the present. Born in Kazakhstan in 1960 and moving to Ukraine as a child, Belusenko has spent a lifetime weaving together history, landscape, and emotion — both as an artist and as a restorer of the past. For 25 years, he worked at the National Scientific Research Restoration Centre in Kyiv, (specialising in polychrome wooden sculpture and decorative carving), breathing life back into centuries-old sculptures and carvings. This intimate relationship with history shaped his artistic eye — his brushstrokes carrying the patience of a restorer, his compositions steeped in reverence for what came before. His works feel like whispers of the past, filtered through a deeply personal lens. While Belusenko’s career spans painting, sculpture, and curation, it is his landscapes that carry his most intimate dialogue with the world. Capturing the quiet poetry of Ukrainian nature, his canvases are imbued with a sense of nostalgia—soft brushwork, muted yet resonant tones, and an ever-present balance between warmth and coolness. His work does not impose itself; rather, it invites you in, allowing you to drift between reality and impression, between what is seen and what is felt. Beyond his artistic practice, Belusenko has also dedicated himself to art education, sharing his knowledge through the BritArt XX lecture series, where he dissects the nuances of 20th-century British art. As a curator and a founding member of the Blue October creative association, he continues to shape and support the contemporary art scene in Ukraine. Today, his works reside in private collections and museums across 30 countries. Yet, despite this global reach, his paintings remain rooted in something deeply personal — his connection to place, to time, and to the quiet beauty of everyday moments.

Artwork Liudmila Davydenko - Subjektiv.art

Liudmila Davydenko

Some artists speak through colours, others through form, but with Liudmila Davydenko, it’ something more - something beneath the surface, beneath even the layers of paint she so meticulously applies to her canvases. I first came across her work at an exhibition in Vienna, where her paintings, rich in texture and introspection, seemed to hold something unseen, something just out of reach. I knew then that I needed to understand her process, to see her world through her own eyes. Our visit to her studio in Lviv was planned after a long working session with my co-founders. It was a chance to engage directly with an artist whose work had left an impression on me. When we arrived, the setting was unexpectedly cinematic, her studio was nestled inside an old Soviet industrial building, its long, dimly lit corridors stretching endlessly like something out of Kubrick’ The Shining. There was a strange stillness in the air, a kind of suspended time, which somehow made the vibrancy of her paintings even more striking. Stepping into her workspace, I was immediately met with the scent of oil paint and the quiet discipline of an artist deeply immersed in her craft. Liudmila belongs to a generation of artists for whom patience and precision are second nature. Her early training as a sculptor is evident in the way she approaches her paintings - not as flat compositions, but as something three-dimensional, something that carries weight and substance. She doesn’ simply paint; she constructs. Every piece undergoes an intricate layering process, sometimes up to eight layers deep, giving the final work a sense of depth that feels almost geological, as if revealing different strata of meaning.

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Learn and Be Inspired

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