Today we are talking to artist Ihor Tushyn, whose creative journey is a veritable kaleidoscope of techniques and materials. From traditional painting and caricature to monumental concrete works, his art is striking in its diversity and constant desire to experiment. In this interview, we learn how the influence of his artist father, years of hard work and an insatiable curiosity have shaped the unique style of an artist who boldly combines different worlds — from delicate watercolour sketches to sturdy concrete sculptures.
Ihor, your early years, especially the influence of your father, an artist, clearly laid the foundation for your creative personality. Tell us about your most vivid memories of your ‘first masterpieces.’ How did your parents react to your early work, and what moments in your childhood cemented your passion for drawing?
Since childhood, I have been driven by curiosity. I had constant access to materials and tools, which allowed me to conduct my first experiments in painting. My most vivid memories are of my parents’ smiles and the love in their eyes, which were the highest reward for my creativity. The absence of restrictions in the choice of style and technique for drawing is the main merit of my father, who laid the foundation for my creative personality.
You mentioned that you drew ‘all the time’ — at home, in kindergarten, at school, in the army. How did your style or approach to drawing change at different stages of your life?
In my opinion, changing your style or approach to drawing depends on what you see and remember. In my case, it was documentary films about Salvador Dali, albums with reproductions of old masters, illustrations from children’s books, cinema posters and cartoons. Everything that pleased the eye and made me interpret my favourite things with paints and coloured pencils.
You call yourself an ‘incorrigible experimenter.’ Which techniques do you find the most difficult or, conversely, the most inspiring, and why?
Yes, it’s true… As a student, I am always in the process of learning. I consider watercolour to be the most difficult and, oddly enough, my favourite technique. It gives me boundless inspiration and endless possibilities. That’s why I develop all my projects in watercolour.
Tell us more about your experience as a cartoonist. What attracted you to this genre, and what topics did you most often address in your work?
My experience lies in my ability to quickly grasp the essence of an event and find a suitable metaphor or symbol to express my opinion. Irony and a sense of humour were my main tools, helping me to ridicule shortcomings, absurdities and injustices in a sharp but understandable way. In this genre, I liked to touch on topics such as sports, politics, and ecology. It is more difficult to make people laugh than to make them cry. Noticing the funny in everything and seeing the serious side of it, so that I could then show it to people, is what led me down the path of caricature.
How did participating in international cartoon competitions influence your vision of art and your future creative work?
I was filled with a deep sense of respect for the works of famous artists. The inspiration I drew from the realisation that my work was also among those of certified artists gave me the feeling that anything was possible!
You mentioned that the 1990s were a fruitful period thanks to private lessons. What lessons did you learn from renowned masters, and how did they shape your style?
Private lessons helped me master the basics of academic drawing: the concepts of composition, perspective, and light and shadow. Overall, it was an effective way to quickly improve my skills, find my unique style, and gain all the knowledge I needed to further develop as an artist.
What do ‘self-education and hard work’ mean to you in the context of your creative development?
Self-education and hard work are key elements of the concept of lifelong learning for me. It is a conscious and purposeful strategy for personal and professional development. It allows me to remain competitive and adapt to new challenges. I believe that self-education is not limited to a specific period of time, but is a lifelong process that ensures continuous development.
Tell us about your first exhibitions in your hometown. How did you feel presenting your work to the public, and what was the reaction?
The first exhibitions are a real whirlwind of emotions: excitement, thrill, adrenaline from inner creative inspiration. Thirty-six certified specialists participated in my first exhibition, Autumn Palette, and my painting Chaplin was declared the best painting of the entire exhibition by the organisers.
The transition to art concrete art in the early 2000s is quite an unusual path for an artist. What exactly attracted you to working with concrete as a material for creativity?
My sense of experimentation and curiosity prompted me to try to broaden my horizons. It turned out that my impressions and thoughts could be embodied in sculptures. They have forms that can be touched.
What are the main challenges and advantages of working with art concrete?
It was like a challenge to myself. I can give you an example of creating a Fairy Tale House for the Troll Village. First, I draw a troll as the owner of the house, and then I create a dwelling for him. I prepare a control sketch, then a technical sketch (construction, dimensions, etc.). Next comes the foundation, a welded metal structure covered with mesh, and then the main stage of the work begins — carving into the wet concrete. After that, it hardens, dries, and is painted. That’s how it happens, in a nutshell.
Your journey is truly impressive in its diversity. How has such varied experience in different techniques and materials influenced your overall artistic vision?
