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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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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.
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Few shots and fragments from working process.
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Making of Dreamscape #4
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My studio. Working process. I am painting a still life with aloe.
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The process of making a mosaic
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Meet our Artists
Artwork Carolina Sardinha - Subjektiv.art
Carolina Sardinha - Subjektiv.art
Carolina Sardinha
Portugal
Carolina Sardinha born in 1982, lives and works in Lisbon. Academic training: . Drawing Development Year at The Royal Drawing School, London (2024-ongoing); . Opened her own Studio, devoting herself entirely to her practise since then (2020); . Tutorial Scheme at Sociedade Nacional de Belas Artes, Lisbon (2018 - 2020); . Aquatint Training at Galeria Diferença, Lisbon (2014 - 2015); . Engraving Techiniques Training at Taller José Rincón Gallery, Madrid (2013 - 2014); . Drawing Education at CIEAM, Faculdade de Belas Artes, Lisbon (2009 - 2010); . Wood block Printmaking Training at the National Print Museum, Dublin (2008 - 2009); . Socrates Erasmus Program, Università Degli Studi di Roma “La Sapienza”, Rome (2003 - 2004); . Degree in Architecture from Instituto Superior Técnico, Lisbon (2006). Selected Individual Exhibitions: . Matter | Mist, Azenhas do Mar (2023); . Reallocated, CCSL Advogados, Lisbon (2020); . Ageing Series, OH | OS, Lisbon (2019); . Essay on Ma, Ler Devagar Bookshop, Lisbon (2019); . La piel de las Cosas, Taller José Rincón Gallery, Madrid (2015). Selected Group Exhibitions: . Group Show at Livraria Sá da Costa, Lisbon (2022); . Finalists Exhibition, Sociedade Nacional de Belas Artes, Lisbon (2019); . Printmaking Exhibition, Galeria Diferença, Lisbon (2016); . Selected Artists Exhibition, Casa de La Moneda, Madrid (2015); . Printmaking Artists Exhibition, Casa de Cultura del Ayuntamiento de Carmona, Carmona (2014). Prizes: . Selected Artist for Collection “The Mediterranean”, The Curators (2020); . Jóvenes Creadores de Calcografía Nacional Prize from the Real Academia de Belas Artes de de San Fernando de Madrid (2014). Collections: Her work is represented in private collections in Portugal and abroad.
Artwork Nataliia  Brichuk - Subjektiv.art
Nataliia  Brichuk - Subjektiv.art
Nataliia Brichuk
Ukraine
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 Myroslava Perevalska - Subjektiv.art
Myroslava Perevalska - Subjektiv.art
Myroslava Perevalska
Ukraine
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.
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