In today’s global world, art becomes a universal bridge that unites cultures and heals souls. Today, we introduce you to Alona Hrytsyshyna, known by her artistic pseudonym Kolos—a visual artist from Ukraine currently creating in Sopot, Poland. Her journey is a story of finding one’s own voice, the power of archetypes, and how the very resilience of life speaks through vibrant colors on canvas. As a representative of the international art community, Alona combines deep national roots with European modernism, proving that sincerity and emotional dialogue know no borders.
Alona, where did your journey begin? Was there a specific moment or event in your life when you realized that visual art was not just a hobby, but your calling?
My journey is a story of how a childhood dream defeated adult stereotypes. In my family, art was perceived as something unattainable, like a “special talent” one had to be born with. Lacking professional materials and a mentor in my childhood, I believed for a while that I didn’t have this gift. But a true calling cannot be put on pause forever.
The turning point was 2018. When the world became more open thanks to online education, I finally allowed myself to simply try. What started as learning quickly grew into full immersion: courses, lectures, endless hours with a brush. And that’s where the “moment of truth” happened: I saw how my works resonated in the hearts of others. When you give a painting and see a sincere emotion, a light in a person’s eyes—you realize that you are not just creating an image, but transmitting energy. Today, art for me is not just a hobby. It is my way of maintaining balance, my language of communication with like-minded people, and a source of strength in these difficult times.
Your artistic pseudonym is Kolos. What story did you put into this name, and how does this image of a "kolos" (ear of grain)—a symbol of roots and strength—resonate with your identity as a Ukrainian artist in Poland?
The pseudonym Kolos is my living connection to home and my genetic code. In this word, the endless Ukrainian fields, the sun over golden lands, and childhood memories where space and freedom felt particularly acute are encrypted for me.
To me, a kolos is not just a plant. It is a symbol of life, prosperity, and an unbreakable force that sprouts through any obstacles. This image is universal: it is understood in Ukraine, in Poland, and throughout the world, because bread and earth are what unite people. Being a Ukrainian artist in Poland, I feel that “Kolos” helps me broadcast my identity. It is about how important it is to have strong roots to reach for the sun.
You work at the intersection of symbolism, animalism, and abstraction. How do these three directions interact in your work? What do they allow you to express better than each one individually?
For me, these three directions are incredibly eloquent. They allow for a dialogue with the viewer on different levels. Symbolism gives us a common language, a foundation of ideas that everyone understands.
Animalism allows me to fill these symbols with personal meaning, often contrary to established stereotypes. For example, in classical art, a wolf is often seen as a threat or a negative character. For me, the wolf is the embodiment of incredible loyalty, high intelligence, and inner strength. Through images of animals, I can convey complex human qualities and states much more expressively.
And abstraction is a space of freedom for the viewer. It is that magic where the artist’s will ends and the imagination of the one looking at the canvas begins. Someone sees a play of favorite colors, someone else sees ghostly images emerging from the texture. By combining these directions, I strive for everyone to find something “their own” in my work—that special something that resonates specifically with their inner world at that moment.
Your works stand out with very juicy, vibrant colors. Do you have a specific "signature" palette, and what role does color play in conveying complex human inner states?
To convey complex human inner states, I use collage, primarily using a background of dark colors: indigo, deep green, and black, and I set a—one might say—surreal plot and details that are the key to the theme I want to highlight. When approaching the creation of my artistic works, I often analyze the palette, use the Itten color wheel, and then adjust it during the work process.
Why exactly have images of nature and archetypes become your primary language for speaking about universal human experiences understood anywhere in the world?
Nature and its elements are a universal language understood by every person at a basic level, while archetypes act directly on our subconscious. In such a tandem, a powerful synergy arises: through familiar images of nature, I appeal to the deep layers of the human psyche. This allows for a visual dialogue about experiences that are common to all people, regardless of their culture or place of residence.
You master a wide range of techniques—from oil to collage. Does it happen that the material itself (the texture of paper or an accidental spot of acrylic) dictates the future plot of the painting?
That is indeed true. Often, inspiration comes from the material itself: a randomly found piece of paper or canvas, a fragment in a magazine, or a peculiar watercolor smudge immediately paints a certain image in my imagination. In those moments, I simply follow that hint, and the accidental element becomes the foundation around which the plot of the future work is built.
Tell us about your experience of living and studying in Sopot. How has the atmosphere of the Baltic coast and cooperation with Polish masters influenced your technique and "artistic vision"?
Sopot is an incredibly picturesque city, where the combination of the sea on one side and the forest on the other gives me a huge boost of positive emotions and inspiration. Cooperation with Polish masters has significantly enriched my technical arsenal: I discovered working with tempera, the process of creating watercolor and tempera paints, making non-standard canvases, as well as linocut and other modern techniques. This experience expanded my “artistic vision” and added courage to my experiments with materials.
Your first solo exhibition was titled "Colors of Instinct." Do you consider creativity itself an instinctive process, or is it a thought-out intellectual strategy?
The name of the exhibition “Colors of Instinct” reflects the idea that we can draw strength from the images and colors of nature. If for animals instincts are innate skills for survival, then in my work, it is the ability to feel harmony. In this series of works, the balance was 50/50: I created part of the canvases as a response to my own emotional need, and the other part I meticulously thought out and analyzed to accurately convey a specific trait or state.
You received a high score and an award at the international competition Golden Time Talent. What does such recognition at a global level mean for a modern artist in the digital age?
Actually, I hesitated a lot and even wrote to my curator that I wasn’t ready for such a scale. But then I realized: if you wait for the “perfect moment,” you might never dare. I submitted the works with the thought that participation was what mattered most; however, the jury’s high evaluation was a pleasant surprise. This recognition added faith in my own strength and confidence that I am on the right path. Such international experience helps open my work to a global audience and is an important step for professional fulfillment in the digital age.
In your practice, there are "mixed techniques." What is the most unexpected or unusual element you have ever integrated into your work, and what meaning did it add to the painting?
I am constantly experimenting: combining delicate watercolor washes with accented acrylic elements or mixing acrylic with markers—this is how the “Seasons” series appeared. One of the most interesting quests was the combination of acrylic with luminescent paints, which embodied the mini-series “Silhouettes of Dreams,” where paintings change depending on the lighting. Not all experiments are successful, but for me, it is extremely important to constantly seek new means of expression and not be afraid of mistakes on the way to creating something unique.
You often mention "sincerity and dialogue" as core values. How do you feel—does your art manage to make the world at least for a moment kinder and brighter, as you strive for?
Judging by the feedback and the sincere emotions of those around me, I can confidently say that my art truly brings positivity to people. This is exactly what I strive for above all—for the world to become brighter even for a moment and to be filled with that living energy that I put into every canvas. It is extremely important for me to share this light, because even a small spark of positivity can change someone’s inner state for the better.
In 2026, you are participating in the "Art Dialog" exhibition in Sopot. What exactly do you want to "talk" about with the viewer through your new works within this international project?
The “Art Dialog” project is an incredibly sincere initiative of the “Don Quixote Academy,” which united professionals and amateurs, including people with special needs. My goal within this project is to show that art is accessible to everyone and is a powerful tool for improving one’s emotional state. I am presenting a series on black canvases called “Silhouettes of Dreams” as a manifesto that black is not about sadness, but about the perfect contrast for bright colors. I am also presenting the quadriptych “Ladies in Hats,” where women in the images of the four seasons embody the idea of constant inner and outer brightness. And the work “Seeds of Love” becomes my call to the viewer: any great changes in the world begin with ourselves.
If art were the primary tool of diplomacy, what idea would you like to transmit to the world on behalf of modern Ukraine through your canvases?
If my canvases became an instrument of diplomacy, I would want to transmit to the world the idea of resilience and inner light that cannot be extinguished. My message is simple: the art of Ukraine today is not just about pain, it is about the victory of life over darkness. I would like the world to see us as a nation that has deep roots, incredible strength, and the ability to turn any trial into a bright manifesto of humanity and sincerity.
