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Subjektiv Magazine

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Sunlit Hours

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Synesthesia

Curated by Daryna Lukanyuk

Invisible Connections

Invisible Connections

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Puzzle

Curated by Vladyslav Peristyi

Spring Melody

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High Voltage

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Komorebi

Curated by Varvara Barto

Apple Cure

Curated by Yevhenii Volodchenko, Dina Chmuzh

Secret Garden

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First Art Encounter

First Art Encounter

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Painting2129 artworks

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Other3 artworks

Recently added

Pavement Series #6 - Subjektiv.art

Pavement Series #6

by Lanre Olagoke

Not Available • 20 × 30 cm

Pavement Series #10 - Subjektiv.art

Pavement Series #10

by Lanre Olagoke

Not Available • 20 × 30 cm

Pavement Series #14 - Subjektiv.art

Pavement Series #14

by Lanre Olagoke

Not Available • 20 × 30 cm

Pavement Series #18 - Subjektiv.art

Pavement Series #18

by Lanre Olagoke

Not Available • 20 × 30 cm

Pavement Series #12 - Subjektiv.art

Pavement Series #12

by Lanre Olagoke

Not Available • 20 × 30 cm

Child Ego State - Subjektiv.art

Child Ego State

by Olena Topolian

€200 • 29 × 42 cm

" Yacht club " - Subjektiv.art

€350 • 25 × 35 cm

The Virgin and Child - ODIGITRIA (in the winter landscape). - Subjektiv.art

The Virgin and Child - ODIGITRIA (in the winter landscape).

by Natalia Satsyk

€350 • 15 × 15 cm

SAINT WOMAN - Subjektiv.art

by Natalia Satsyk

€400 • 17 × 21 cm

ODIGITRIA IN ORANGE COAT - Subjektiv.art

ODIGITRIA IN ORANGE COAT

by Natalia Satsyk

€350 • 15 × 20 cm

ARCHANGEL MICHAEL - Subjektiv.art

ARCHANGEL MICHAEL

by Natalia Satsyk

€450 • 17.5 × 27 cm

Two - Subjektiv.art

by Dmitri Stroganov

Not Available • 25 × 35 cm

Featured Artists

Artwork by Eugene Pokutnev

Eugene Pokutnev

Eugene Pokutnev

Eugene's paintings aren't just compositions of colour - they are movements. They seemed to shift before your eyes, pulling you in, disorienting in the best way. His secret? ‘-black’ - a rare Japanese paint so dense that it absorbs nearly all light, creating an illusion of infinite depth. He orders it from a master in Japan, layering it alongside vibrant colour, bending space itself on the canvas. When you stand before his work, it’ as if you’ falling into the painting, moving between its layers, losing balance for just a second. His journey into art was as unexpected as the effect of his work. Growing up in a small city near Dnipro, a career in art was never considered an option. He spent his days sketching intricate patterns but, like many others in his city, he needed stability. So he became a policeman. And yet, fate has its way of rewriting stories. One day, while investigating a burglary, his colleague casually showed the apartment owner some of Eugene’ sketches. The man, a businessman with an eye for art, was so captivated that he made an offer on the spot: “ the police. I’ fund you.” And just like that, Eugene left law enforcement behind.

Artwork by Dzvinya Podlyashetska

Dzvinya Podlyashetska

Dzvinya Podlyashetska

Born in Lviv, Ukraine, based in Vienna, Dzvinya Podlyashetska is an artist whose work moves between the playful and the profound. Her art is a vibrant mix of comic-like figures, bold colours, and surreal compositions, capturing emotions that are often felt but rarely seen. She transforms the ordinary into something magical - people, animals, and everyday objects take on new meaning in her world, where naivety and sarcasm, love and chaos, laughter and melancholy exist in fragile harmony. Dzvinya’s journey into art began with a deep fascination for illustration and printmaking. She studied graphic design at the Ivan Trush Lviv State College of Decorative and Applied Arts before continuing her fine arts education at the Ukrainian Printmaking Academy. She has shaped a distinctive voice, one that blends storytelling with visual poetry. Her art is a reflection of human relationships, inner dialogues, and the constant push and pull between personal identity and external influences. Mental health is a key theme in her work, expressed through dynamic, exaggerated forms and rich textures that echo the complexities of emotion. Each piece is an invitation to pause, to look deeper, and to rediscover the joy of simplicity that is often lost in the rush of modern life. Exhibited across Europe and the United States, from the National Museum of Ukraine in Kyiv to the Volkskunde Museum in Vienna and the 17 Frost Gallery in New York. When You Don’t Expect at Breach Miami, have cemented her reputation as a rising force in contemporary art. Dzvinya doesn’t just create images, she creates experiences. Her art is a space where emotions take shape, where nostalgia meets the surreal, and where viewers are encouraged to embrace both the beauty and the chaos of existence.

Artwork by Karine Bartoli

Karine Bartoli

L’artiste sélectionne minutieusement ses motifs parmis des photos issues de ses propres shooting où se trouvent des interactions entre les personnages dans des territoires ensoleillés. Elle représente ces clichés en peinture à l’huile sur toile, en les recadrant et sélectionnant ses couleurs. Sa touche est emprunte de ce que sa vue a digéré, son ressenti à filtré. S’établit un processus créatif pour traduire la lumière et les mouvements des personnages. Dans ses œuvres la lumière a fonction de composition. La peintre décrit la lumière et le mouvement de façon radicale. Elle théâtralise, sacralise une réalité d’apparence banale. L’univers pictural de Fairfeld Porter l’inspire dans la recherche du motif et de la composition de ses peintures. Son geste est dans la lignée de celui de peintres néo expressionnistes allemands des années 80, caractérisé par une franche liberté d’expression. Le médium peinture ne s’éfface pas derrière le motif. Il est garant d’un choix subjectif qu’elle établit face à son modèle.

Artwork by Maisa Champalimaud

Maisa Champalimaud

Maisa Champalimaud

Maísa Champalimaud (1987) é uma artista plástica luso-brasileira. Iniciou sua carreira profissional com o retratista Luís Guimarães e, desde então, participou em residências, partilhando atelier com outros artistas contemporâneos. Desde 2011 dedicou-se a expor individual e coletivamente, envolvendo-se também em projetos que incluem exposições em Lisboa, Braga, Seia, Gaia, Tavira, Faro. Desenvolveu diversos murais para restaurantes, produtoras de cinema e edifícios de luxo, além de intervencionar espaços públicos - de casas de banho à Mupi. Colaborou com algumas marcas - de roupa (Monarte; YOM), de vinho (Xutos e Pontapés) , além de fazer o cartaz para um filme nacional (Salgueiro Maia). Participou de inúmeros leilões solidários e iniciativas de cunho social. Hoje (e cada vez mais) muitas das suas obras pertencem a coleções privadas integrando em Portugal o acervo da CCA Advogados, SRS Advogados, Abreu advogados, Fundação PT, Edge-Group Espaço Amoreiras, Private Lawyers, Fundação AMI, Skydreams, PARTAC S.G.P.S. Internacionalmente tem peças espalhadas pelo mundo afora: Brasil, Angola, Moçambique, Londres, Bruxelas, Estados Unidos - incluindo na Casa Branca.

Artwork by Liudmila Davydenko

Liudmila Davydenko

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.

Artwork by Vês Três

Vês Três

VÊS.TRÊS is a collective project composed of emerging artists Ana Malta, Madalena Pequito and Maria de Brito Matias. The collaboration began in 2018, after they finished their respective degrees in Painting at the Faculty of Fine Arts of the University of Lisbon. The desire to continue close work as colleagues encouraged the creation of joint works where pictorial harmony creates a game of seeing and recognizing. The question that remains will always be: "Do you see three"? Three forms of expression, three styles, three color palettes. It emerged as a movement of mutual support, a dialogue of experiences and a space for sharing social issues as women artists. The collective aims to convey to the viewer the importance of bringing together practices and minds for the development of human life. We are social beings and by coming together we sharpen our senses - in this case 3 times more sensitive - creating this element - Vês.Três - which, as a singular artist, has the presence of three independent artists who want to leave their mark through a colorful language that is accessible to anyone. All three intervene in the same way and at the same time in all created works. Mostra "Palavra proibida" no Café Local, 2023 Caldas da Rainha; "Running Riot", Galeria Augustine, 2023 Lisboa; "It's Crystal Clear", LxLapa, Lisboa; "piquenique", Oficinas de Aljustrel, 2022 Alentejo; "Sobre tentativas de (re)mover", atmosfera m, 2021 Lisboa; "Papel de Parede", Espaço Mercês, 2021 Príncipe Real; "Vês.Três", EGEU, 2020 Arroios; "EMER.GENTE", Associação Recreativa da Moita Redonda, 2020 Fátima;

Artwork by Artem Andreichuk

Artem Andreichuk

Artem Andreichuk

Tucked away in his studio, a space bursting with pigments and canvases in mid-creation, Artem Andreichuk welcomes visitors with the same vibrant energy that radiates from his work. The walls pulse with colour: lush, unapologetic, and raw. Here, the naked human form is not just a subject but a manifesto. Stripped of status, regalia, or pretence, his figures exist in perfect equilibrium with nature, unashamed, inviting, free. Artem’ journey as an artist is deeply tied to this pursuit of authenticity. Born in 1983, he has remained in Ukraine, shaping his artistic voice amid the ever-changing landscape of his homeland. His fascination with the human body is more than aesthetic—it’ philosophical. In a world layered with masks, he paints what remains when all is shed. Sensual yet unembellished, his figures embody a radical honesty, one that refuses to be confined. Yet, Andreichuk is not just about the body; he’ about the thrill of expression. On another wall, his minimalist works stand in stark contrast to the sensuality of his figurative pieces - youthful, witty, and exuding a rebellious charm. Layers of electrifying colours seem to wink at the viewer, as if daring them to embrace the absurdity and joy of existence. “ should be fun,” he says with a knowing smile, and his art ensures that it is. Beyond the canvas, Artem's creative spirit has always stretched into multiple realms. Music has been a lifelong companion, and as a former bassist for the indie band Blake Maloka, he has translated rhythm into brushstrokes, movement into stillness. His paintings, much like a well-played bass-line, carry an energy that hums beneath the surface; sometimes wild, sometimes restrained, but always present. To step into Artem Andreichuk’ world is to be reminded of life’ fundamental pleasures: skin meeting sun, laughter ringing through colour, rebellion found in joy. His work doesn’ just ask to be seen, it demands to be felt.

Artwork by Egor Guschin

Egor Guschin

Egor Guschin was born in 1988 in Kharkiv,Ukraine, graduated from the Kharkiv University of Construction and Architecture with a degree in Organizational Management. He worked in his specialty for a while, then moved into the food service industry for a long time before finding his true passion in photography. Egor's work has been featured in publications such as Vogue Ukraine and exhibited in various galleries in Lviv, Kharkiv and Kyiv. This is how his career as an artist began in 2023. Now he is a member of the MYPH school of conceptual and fine art photography. Works with analog photography, mainly using the multiple exposure technique. Inspired by surrealism and loves experiments with expired film.

Artwork by Myroslava Perevalska

Myroslava Perevalska

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 by Anna Kostritskaya

Anna Kostritskaya

Anna Kostritskaya

Anna Kostritskaya’s work carries an undeniable urgency, each brushstroke infused with a tension between fragility and defiance. Her art does more than depict; it preserves, resists, and remembers. Born in Ukraine, her creative journey has been deeply intertwined with the turbulence of her homeland. Since the full-scale war began, her work has taken on an even more urgent role, serving as a form of documentation, capturing emotions, losses, and the resilience of her people. Her paintings often feel like open wounds, yet within them lies tenderness, a refusal to let beauty be erased by destruction. Working across multiple mediums - painting, photography, and mixed media, Kostritskaya employs different artistic languages to express the unspeakable. In her portraits, faces emerge from the canvas like whispers, layered with texture, almost as if they are fighting to remain visible. There is a quiet intimacy in her work, a recognition of individual stories otherwise lost within the vastness of war. Much of her practice is rooted in the act of bearing witness. Her work explores displacement, identity, and the intersection of personal and collective history. Her photography, in particular, captures fleeting moments, glimpses of life that feel sacred in their ordinariness, a stark contrast to the overwhelming instability surrounding them. Her creative process is instinctual, driven by emotion rather than rigid intent. She has described it as work that decides its own path, rather than one that is meticulously planned. Yet, despite the weight of her subject matter, her art is about endurance. It embodies the human spirit’s refusal to be silenced. Beneath the layers of grief, there is strength. There is the unbreakable.

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