In today's world, the ability to see, interpret and express oneself through art is becoming a key thinking tool. Barbara Drobot - educator, artist and innovator in the field of art education - has dedicated her life to developing this understanding. Her journey, from children's workshops to unique online courses, demonstrates how a passion for creativity and a belief in everyone's potential can transform traditional approaches to learning. In this article, we'll dive into Barbara Drobot's philosophy, explore her vision of meaningful art education, and learn how she helps her students not just draw, but truly see the world with their hands and heart.
Barbara, please tell us, what brought you into the world of art and how did you decide to dedicate yourself to teaching?
I entered the world of art at nine years old, starting classes at an art workshop. From that moment, I was already preparing to link my life professionally with art, although I was convinced my calling would be architecture, and I prepared specifically for it. Teaching began almost by chance in my second year of architecture school, when my teacher asked me to conduct a class for children.
For four years, I worked in a studio, gave on-site lessons in kindergartens and private schools in Kyiv, and twice was invited as a speaker at the Archikidz Kyiv Festival. Then, in 2018, I tried teaching drawing online to students worldwide and realized that my hobby had turned into a true career.
You teach academic drawing, painting, and the development of visual thinking. How do you define "meaningful art education" and how does it differ from other approaches?
Meaningful art education is about developing observational skills, visual language, and the ability to think in images. This approach gives a person not just a skill, but a powerful tool for thinking and self-expression. For a teacher, this format is more challenging because you need to gently reach the student, providing tools and guidance rather than imposing your own opinion. But thanks to this, unlike templated or entertainment-focused masterclasses, here the student becomes the author of their own works, not a mere copyist.
You are convinced of the accessibility of art for people of all ages and levels. What are the main barriers you see preventing people from starting or continuing to engage with art, and how do you help them overcome these?
The main barrier is a distorted attitude towards creativity that’s instilled in school. Art classes are often considered unnecessary, not providing skills for future life. I try to break down these beliefs, showing the world that art primarily develops critical thinking. And that’s an indispensable skill for the future! I also train colleagues to maximally restore the reputation of creative activities in the eyes of modern children and adults.
Your courses focus on an individual approach and the development of creativity. How do you balance academic fundamentals with freedom of self-expression?
The balance lies in the fact that creativity is the pinnacle and culmination of knowledge in visual literacy, observation skills, and practice. I clearly delineate the stages of a student’s development in drawing, just as in other subjects. A person cannot solve mathematical logarithms without knowing the multiplication table. Similarly, an artist cannot create paintings without knowledge of tone, the color wheel, object construction, and other details. My task is to give students the necessary tools in the shortest possible time and guide them towards their own exhibition.
Your career in teaching began in 2014. What inspires you most about working with students, and what are the most unexpected discoveries you've made while teaching others?
What remains unexpected to me after 11 years of teaching is that I can truly teach anyone to draw. The most surprising thing is how each person solves the same problem in their own unique way. I learn a lot from my students — especially from children who see the world differently from adults. Recently, my 12-year-old student passed the selection for an open-call in Cyprus and became the youngest participant in the exhibition. And in 2021, my student, during our online drawing lessons, painted her house in Norway. Creativity has given me access to the whole world!
You are the author of unique online courses. Please tell us how you develop your programs and what makes them special? Which of your developments, in your opinion, holds the greatest significance for the advancement of art education?
I develop lessons based on real requests: “how to stop being afraid of a blank page,” “how to learn to see, not just copy.” My program isn’t a series of lessons where every step is copied from me, but a path that involves observation, the development of imaginative thinking, and precise tools. I’m particularly fond of the series of lessons called “Seeing with Hands,” where adults learn to observe and interpret reality through drawing. Dozens of my colleagues are currently using this program, and it works for everyone!
Your articles have been published in prestigious outlets such as ArtDaily (USA) and Ukrainian media. What topics in art education do you consider most important for coverage in publications?
Today, it’s important to talk about the problem of template-based learning, the commercialization of children’s creativity, and the role of art in developing critical thinking, not just skills. I believe it’s essential to share pedagogical cases where children don’t copy templates but truly develop creatively.
How does your own drawing and painting practice influence your teaching and research work?
I remain the most important example for the students who trust me. I know what it means to lack inspiration, to search for a solution in composition, to make mistakes. This helps me to be honest with my students and to see them not as “students,” but as colleagues.
You are a finalist in international exhibitions (Fusion Art) and an active lecturer, as well as a member of professional communities, including InSEA. How does this diverse experience enrich your teaching and research activities?
I see how artists and educators work around the world and what issues concern the international community. Participating in exhibitions helps me maintain a vibrant artistic practice, while lectures and membership in communities allow me to share experiences and learn from colleagues.
What changes in art education do you consider most important in the modern world?
The realization that art is not just for the talented and not just entertainment, but a fundamental skill for thinking and communication. It is very important to introduce visual literacy into schools with proper methodologies, rather than pursuing “beautiful” templates.
