Olesia Tverdokhlib

Year of birth: 2001.
Where do you live: I currently reside in Mannheim, Germany, but originally I am from Kyiv, Ukraine.
Your education: Institute Of International Relations Taras Shevchenko National University of Kyiv: BA in International communication.
Describe your art in three words: Introspective, Symbolic, Transformative.
Your discipline: Figurative painting in oil and acrylic on canvas.
Website | Instagram

Your work is deeply influenced by Jung’s theories of archetypes. How did you first encounter Jungian psychology, and how has it shaped your artistic process?

I first became interested in psychology when I started my own therapy journey, which I’ve now been on for five years. Through this process, I was introduced to Jungian psychology, and it deeply resonated with me. Jung’s theories of archetypes and the collective unconscious offered a framework for understanding the recurring symbols and narratives that surface in both personal and collective experiences.

This perspective has profoundly shaped my artistic process. I see my work as a way of exploring and visualizing these universal patterns and archetypes—those deep, often hidden layers of the psyche that connect us all. When I paint, I aim to bring these elements into focus, blending realism with surreal, symbolic imagery to create pieces that feel both personal and timeless. 

In paintings like “Glory Box” and “The Good Boy,” you explore identity and societal expectations. Could you elaborate on how you approach these themes visually?

In paintings like “Glory Box” and “The Good Boy,” I explore identity and societal expectations by visually navigating the tension between the legacy we inherit and the authentic self we strive to uncover. This theme is central to my *Heritage* block, which examines how family and societal values shape, support, or constrain personal identity.

In “Glory Box,” I use water as a symbol of the boundary between the conscious and subconscious, illustrating the struggle to reconcile inherited values and personal truth. The box represents a dowry of beliefs and traditions passed down through generations. Its dual role—as both a lens of self-discovery and a barrier obscuring true identity—captures the complexity of navigating our cultural inheritance.

“The Good Boy” takes on the tension between external expectations and self-expression. The oversized bow, a symbol of societal conformity, constrains the figure, while the act of untying it signifies liberation. This visual metaphor reflects the inner journey of breaking free from inherited roles to embrace individuality.

Together, these works and others in the block, visualize the dynamic interplay between heritage and selfhood, encouraging viewers to reflect on their own experiences of identity formation and the societal pressures that shape it.

Olesia Tverdokhlib | Glory Box

You’ve exhibited internationally and been awarded by prestigious institutions like the Luxembourg Art Prize. How have these experiences impacted your career and artistic confidence?

As an emerging artist, having my work recognized internationally by institutions like the Pinacothèque museum (Luxembourg Art Prize) has been incredibly validating. These experiences have not only opened doors to new audiences but also reinforced my belief in the importance of the themes I explore in my work, such as identity, heritage, and self-discovery.

While I’m still at early stages of my artistic journey, these milestones have given me the confidence to trust my vision and pursue opportunities I might have hesitated to seek before. They’ve also connected me with a wider network of artists and curators, whose insights and feedback continue to shape my growth. Each step forward reminds me of the power of art to resonate across cultures and experiences, and encourages me to further develop in both technique and storytelling.

Your art merges traditional and modern elements. How do you strike a balance between these two contrasting styles?

The combination of traditional and contemporary styles in my paintings creates a multi-layered visual experience. Realistic figures painted in a classical style provide a sense of intimacy, allowing the viewer to identify with the characters. At the same time, imaginary scenes filled with symbolic elements blur the boundaries between reality and the subconscious, immersing the viewer in the realm of dreams, fantasies, or hidden fears.

I use this contrast between detailed reality and fantasy as a technique to create strong emotions that allow you to reflect deeper on your inner world. It is important for me that my works offer not only aesthetic pleasure, but also the possibility of introspection, creating a space for a dialogue. This combination of past and present in styles gives the viewer a sense of familiarity, but at the same time opens up access to new, unexpected experiences.

Olesia Tverdokhlib | The Good Boy

The subconscious plays a significant role in your work. Could you describe your process for translating subconscious themes into visual narratives?

My artistic practice is deeply intertwined with my experience in psychotherapy, which first sparked my interest in psychology. Over time, creating art has become an extension of this journey—a way to navigate and explore my inner world. Through my work, I strive to see, define, and understand myself, often treating my paintings as a mirror.

When engaging with subconscious themes, I focus on the imagery and sensations that naturally arise. The subconscious doesn’t operate in words but in images; it is preverbal and symbolic. Because of this, these themes don’t need to be “translated” into visual narratives—they already exist as images. In fact, visual expression often conveys more than words ever could, capturing emotions and meanings that language cannot articulate.

My process often begins with creating sketches or compositions without consciously understanding their meaning. Insights reveal themselves later, as I reflect on the work. One of the most powerful aspects of this practice is the freedom to let go of control. In the meditative flow of painting, I allow my imagination—a direct link to the subconscious—to guide me, recording the imagery that emerges spontaneously. Through this process, art becomes both a method of exploration and a bridge to deeper self-awareness.

How do you hope viewers interact with the emotional and psychological layers in your paintings?

I hope viewers engage with the emotional and psychological layers in my paintings as an invitation to self-reflection and discovery. By combining realistic figures with dreamlike settings, I aim to create a space where viewers can confront their own emotions, memories, and subconscious thoughts.

The familiarity of the figures offers a sense of connection, while the imaginative contexts encourage introspection and challenge viewers to interpret the layers of meaning based on their own experiences. My goal is for each piece to feel personal yet universal, sparking a dialogue between the viewer’s inner world and the visual story I present. Ultimately, I hope my work inspires curiosity, emotional resonance, and a deeper exploration of the self.

Olesia Tverdokhlib | Incubation Period final

Could you share insights into your creative process? For example, how do you decide which medium—oil or acrylic—best suits a particular work?

My creative process always begins with a sketch. I resolve compositional and color decisions before transferring the work to canvas, ensuring every element is intentional. Typically, I work with canvas rolls, which I prime if needed, stretch onto a frame, or leave unstretched and attach directly to the wall. This approach gives me the flexibility to customize the canvas size and surface preparation to meet the specific demands of each project, especially for larger works.

I often use both acrylic and oil in the same painting, leveraging the strengths of each medium. Acrylic’s fast-drying nature makes it ideal for initial color blocking, but it can also be limiting. For smoother transitions and refined blending, I turn to oil, which adds a certain ethereal quality to the work and complements techniques inspired by the old masters. If I want a more classical and polished appearance, I layer oil over the acrylic. However, this approach requires technical precision—acrylic, being water-based, must always be applied first, with oil layered on top to ensure the painting’s longevity.