Art is not just about paints on canvas, but also about the courage to be oneself, even if it means being "different." The journey of our today’s heroine proves: there is no such thing as "too late" for a true calling, and creative energy will always find a way out, transforming into a powerful tool for self-discovery. In this interview, we speak with Alona Kushnirenko, a certified Master of Art Therapy, an artist, and the author of a unique doodle book. She sincerely shares her experience—from her first steps in adulthood to presenting her works on the international stage in Spain. This is a conversation about the magic of "flow," the importance of staying true to one's own style, and how art helps heal the past and build ambitious plans for the future.
Alona, you began a serious creative path at a mature age, moving through decoupage and clay to oil painting. What would you say to those who feel a creative impulse but are afraid to start learning because they think it is "too late"?
I believe that if a person is creative, they cannot restrain themselves—this creative force will definitely break through something. Regarding learning, it is never too late to learn. I first started painting, and only later began taking painting lessons. I heard different opinions from professional artists: some said I needed to study a bit, while others said I shouldn’t study because that’s how you can lose your personal style. Currently, I hold a Master’s degree with honors from the Kharkiv State Academy of Design and Arts, specializing in Design, Art Therapy, and Communicative Practices. Even so, I continue to attend masterclasses by other artists, especially those with more experience than I have.
You studied with Natalia Korobova and are now continuing your studies with English masters. Is there any specific advice or technical technique received from them that has become the foundation of your current style?
Currently, I am not continuing my studies with Natalia Korobova due to a busy schedule, although I am sure that if necessary, we can always reconnect for a few lessons. Regarding technique, it seems to me that my signature approach is still at the stage of formation. A true artist is a constant experimentalist, so I am in a continuous creative search and investigation.
Today, my approach is rather a combination of collective techniques. However, the basis remains the foundation from which I started. It is difficult to evaluate myself objectively without seeing my own work from the side, but I feel this continuous connection with the primary sources of my creativity.
The most important advice I took from my studies and which I follow to this day is the necessity of finding your own unique style. That is why I continue to attend masterclasses of English masters and frequently visit museums and galleries. I sincerely love that special state when the creativity of other artists gives me inspiration for my own discoveries.
Alona, you mentioned expressive techniques where paint flies onto the canvas in splashes. How do you find the balance between this moment of "childhood happiness" and conscious control over what is being created on the canvas?
I think that in this moment, the magic of painting occurs because at this instant I am in the flow. It is like some other state: I only see approximately where I want the paint to fall, and I surrender to the process. My control during such painting is 60%.
Many artists have their "places of power" or rituals before the first splashes of paint fly onto the canvas. What must happen in your space for you to feel: "The time has come, I am ready for magic"?
The most important push for creativity for me is an overflow of emotions. Any emotions. As for my places of power, I most often go there to harmonize. Previously, it was Khortytsia Island and the Rowing Canal in Zaporizhzhia. And now it is Panshanger Park in the city where I live.
Your phrase "there is a consumer for every product" is very important. Does this mean that for an artist, being true to oneself and one's "flow" is more important than trying to adapt to current market demands?
Yes, I believe that being true to oneself and one’s flow is the most important thing, because exactly when you start to adapt, a creative block arises as a resistance to going against yourself.
Alona, you are a certified Master of Art Therapy and a practicing artist at the same time. Has it ever happened that working on a specific painting became a personal therapy session for you, and what "diagnosis" or solution did you find on the canvas?
It seems to me that when I take paint and a brush in my hands, therapy is already happening, even if it is just creating the background for a future painting. I put a certain meaning into all my works, and when I paint, I process a specific theme. For example: when I was painting my self-portrait “Merging with Water,” I imagined all my past life being washed off me. And there is another work through which I feel I processed a lot from the past—it is “Transformation,” a work with wings and scars on the back. It seems to me that when I am in the creative flow, I don’t always realize that I am processing something or just want to highlight a certain theme. It is only later that I can turn on my thoughts and analyze why I did it exactly that way.
Your series of works about aliens is a deep metaphor for human difference. Do you think your art helps the viewer accept their own individuality and stop being afraid of being "from another planet"?
Thank you for the question. I want to believe that it helps. At least sometimes I hear from people “This is me” or that they resonate with them very much. They are not yet famous enough for me to have received many reviews from people, but perhaps I need to ask directly: do “The Others” help you accept your own individuality? Perhaps there will be more reviews.
You recommended the book "The Artist’s Way." Do the practices from this book help you find ideas for new collections during moments of stagnation?
As I mentioned, when I take paint and a brush in my hands, therapy is already happening. I put a certain meaning into all my works, and when I paint, I process a specific theme. For example, my self-portrait “Merging with Water” was a way to imagine my past life being washed off me. There is also “Transformation,” a work with wings and scars on the back, through which I processed a lot from the past. When I am in the creative flow, I don’t always realize that I am processing something; it is only later that I can analyze why I made those specific choices.
In your doodle book "Doodling for Life," there are sections with sounds of the sea and special music. If your series about "The Others" had its own soundtrack, what would it sound like?
I haven’t thought about that yet. But many paintings from this series were painted specifically to the classical music of Chopin, Bach, Mozart, and others. Perhaps for a soundtrack, I would do something electronic mixed with classical.
Alona, you have been a member of the Global Talent Confederation project for over a year. What major events and qualitative changes in your creativity have occurred during this period of membership?
During my participation in the Global Talent Confederation, my creativity has become more conscious and structured, without losing the freedom to experiment. I began to feel my artistic language more clearly and allowed myself to work more deeply with themes of internal states, the body, and emotions. An important change was the combination of art with an art-therapeutic approach: the process of creating works became for me not only aesthetic but also investigative and healing. There has also been more exchange of experience and confidence that my path has value and resonance. Overall, I believe that participating in the project helped me grow not only as an artist but also as an author with her own position and vision.
Alona, your track record includes participation in the ART TOUR Global Talent Confederation in Spain. How did the experience of presenting works in such a colorful country influence your vision of yourself as an international artist?
The Art Tour in Spain was a very deep and inspiring experience for me. It provided an opportunity to see how my works are perceived in a different cultural environment. This project is an important stage of personal and professional growth. This experience expanded my vision of art: I became more closely acquainted with the work of one of my favorite artists, Salvador Dalí, and felt a certain kinship of souls. It was as if I had come to visit a very close friend. Also, during the art tour, I felt a lot of inspiration because I was among the same kind of creative women; among them, I felt as if they were all family, despite the fact that we were from different countries and spoke different languages.
You mentioned a dream of having your own gallery and new collaborations. How do you see your ideal "art center" and what is the first step toward this grand goal you plan to take?
First, I need to make a name, increase the audience of my supporters. And then—find a space and those willing to show their creativity. Perhaps at the beginning, involve several organizations that can provide sponsorship on mutually beneficial terms. And everything will go like clockwork. Here I must say, “So be it!” Perhaps these will be collaborations with other artists, for example, creating creative residences (creating large paintings by 5–7 artists simultaneously or a sculpture where we immediately agree with the authorities on where it can be placed). Or maybe festivals, biennials on a certain theme that has an idea or a specific position, in the open air, with large creative objects. I myself dream of participating in such projects.
