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Curated by Subjektiv

Vibe by Yakoho.bisa media

Vibe by Yakoho.bisa media

Curated by Yakoho Bisa Media

Summer Solstice 2025

Summer Solstice 2025

Curated by Subjektiv

Lisbon Event

Curated by Subjektiv, Francisco Duarte Coelho

First Art Encounter

First Art Encounter

Curated by Subjektiv

French Touch

Curated by Subjektiv

Geometry Speaks

Geometry Speaks

Curated by Subjektiv

Art Beyond Canvas. Grown, Stitched, Burnt, Bent

Art Beyond Canvas. Grown, Stitched, Burnt, Bent

Curated by Subjektiv

Kinetic Stillness

Kinetic Stillness

Curated by Subjektiv

Art That Breathes

Art That Breathes

Curated by Subjektiv

Echoes and Visions

Echoes and Visions

Curated by ArtShield

Instytut Avtomatyky

Instytut Avtomatyky

Curated by Instytut Avtomatyky

Myroslava's Mosaic

Myroslava's Mosaic

Curated by Subjektiv

Painting

1497 artworks

Drawing

124 artworks

Mixed media

121 artworks

Photography

106 artworks

Prints

53 artworks

Sculpture

101 artworks

Ceramic

37 artworks

Engraving

21 artworks

Recently added

Artwork Lesia Lé - Subjektiv.art

“As free as the wind of the steppe”

Artwork Lesia Lé - Subjektiv.art

Artwork Anton Demidenko - Subjektiv.art

by Anton Demidenko

Meet our Artists

Artwork Ganna Kryvolap - Subjektiv.art

Since she was a young child, the Ukrainian painter Ganna Kryvolap has been shaped by the creative environment revolving around her family. She comes from a family of artists. Her father Anatoliy Kryvolap, who was famous for his Ukrainian landscape paintings, as well as her mother Zinayida Vasina, also an artist and theatre costume designer, both had a great impact on Ganna Kryvolap. Her works are characterised by brilliant colours, expressionist structure and vibrating energy. They radiate lightness and an incredible luminous intensity. The artist works in series and cycles. She transforms her city series into an abstract and dreamlike language: Kryvolap’s pictures are hybrids that incorporate impressions of real landscapes, intellectual observations and pure fantasy. She contrasts her multi-coloured urban pictures with a colour background that additionally introduces a strong dynamic element.

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.

Artwork Yuuko Suzuki - Subjektiv.art

French artist born in Osaka, Japan. Line art, direct expression of the state of mind, this has been the essence of her artistic creation since the first years of her life, as she started Japanese calligraphy at the age of 6 with renowned masters. In 1987 she moved to Paris, where she was in charge of the Japanese art and Buddhist art workshops at the Musée Guimet from 2002 to 2011. In parallel, the in-depth studies and rich experiences in France in audiovisual art, flourish today in her digital art. The main topic she explores: Śūnyatā - Non-duality, Peace. Silence, voice of the Universe.

Artwork Bohdana Tkach - Subjektiv.art

I'm Bohdana Tkach, an artist, photographer, and graphic designer from Rivne, Ukraine. My creative path is rooted in my studies of environmental design at the Kyiv Academy of Decorative and Applied Arts and free graphics at NAOMA. These experiences shaped my unique visual language, blending traditional techniques with modern artistic practices. My work centers on the exploration of the human body, especially the female form, as a vessel of identity, emotion, and history. Since 2019, I have been drawn to cyanotype, an alternative photographic printing method, which allows me to merge tactile craftsmanship with conceptual depth. I would describe myself as a seeker—a weaver of thoughts, emotions, and images. My mind thrives on the poetry of connection, the quiet questions that linger between moments, and the beauty found in both complexity and simplicity. I am drawn to the interplay of light and shadow, in the world and within myself, always searching for meaning and expression that transcend the immediate. As a thinker, I embrace the fluidity of ideas, letting them evolve and intertwine, guided by curiosity and an enduring sense of wonder. My work is both a reflection and an exploration—a way to navigate the vastness of existence and to leave something of myself in the spaces I touch. I strive to approach life with open eyes, an open heart, and a belief in the power of art to connect, heal, and transform.

Artwork Artur Muzychenko - Subjektiv.art

Artur Muzychenko

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 Carolina Sardinha - Subjektiv.art

Carolina Sardinha

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 Anna Bulkina - Subjektiv.art

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 Myroslav Pivtoranis - Subjektiv.art

Myroslav Pivtoranis

An abstract artist, based in Lviv, Ukraine. His art is a mix of colors, shapes, compositions. Edges, lines and planes. Floating forms, reductive and asymmetrical. Wonky geometry. Dynamics and harmony. "When I create, I don't impose, but l give a choice for feelings and thoughts." "I give the viewer the opportunity to interpret my work as they see it. And I try to extend my art receiver imagination by transmitting an impulse. It is not necessary for the observer to follow my way of projection as it could eliminate new nteresting points of view. Every interpretation of my art is meaningful for "There is the space and time in my paintings, they need to radiate great power and ranquility as completed works of art."