In contemporary art, where creators often seek to shock, the works of Valeria Huber attract attention through deep sincerity, an impeccable sense of form, and intricate work with material. The Kazakhstan-born artist living and working in Germany creates a unique visual language: on her canvases, academic precision of portraiture intertwines with expressive abstraction, while minimalist monochrome comes alive under the luster of symbolic gold. Winner of the Grand Prix at the Golden Time Talent International Competition (2026), participant in the World Talent Award 2026 festival-exhibition in London and the Artboxy project in Paris, Valeria shares her story of passing through transformations, searching for her own voice, and the philosophy behind creating "living" canvases.
Valeria, how did your journey in art begin, and how did childhood impressions lead you to a conscious choice of painting as your life's work?
Art has accompanied me for as long as I can remember. Even in childhood, drawing became my most natural way of expressing feelings and thoughts—through drawing I could say much more than with words.
Later, I received a higher education in design, which taught me to see composition, form, and space professionally. But painting has always remained the place to which I returned, regardless of life circumstances. After moving to Germany, mastering a new profession, and undergoing a period of adaptation, I realized with particular clarity that creating paintings is not just a hobby; it is my calling. It is at the canvas that I feel inner harmony, freedom, and the opportunity to engage in an honest dialogue with the viewer.
You have a rich background in design and textile craftsmanship. How has this experience influenced your current vision of composition and your relationship with the canvas?
Design taught me to think structurally. It formed a sense of composition, balance, and the understanding that in a work of art there are no accidental elements—every line, accent, and pause must be in its place.
Working with textiles, on the contrary, taught me to feel the material, fostered attention to detail, and built an appreciation for the importance of texture. Therefore, for me, canvas is not just a surface for an image, but a part of the artistic statement. I enjoy creating expressive textures that make one want not only to view the painting, but also to feel it tactilically.
Why did acrylic become your main medium, and how do academic portraiture and expressive abstraction coexist in your technique?
Acrylic allows me to work both precisely and freely: creating multi-layered depth, experimenting with texture, and conveying emotions through energetic strokes while preserving the expressiveness of the human face.
I have always been interested in combining two seemingly opposite directions. Realistic portraiture helps establish a direct emotional contact with the viewer, while abstraction provides space for personal experiences and interpretations. It is on this boundary that my art is born: the face becomes a conduit for emotions, while abstract forms reflect the inner state of a person.
The central theme of your work is the female figure. Are there traits of your own personality in your heroines?
Absolutely. In every woman on the canvas, there is a piece of myself. These are not self-portraits in the literal sense, but rather a reflection of the emotions I have experienced: the pain of loss, inner searches, hope, acceptance, and the ability to find strength to move forward.
That is why many women, looking at my paintings, ask: “Is that me?” For me, this is the most sincere compliment. For example, my trilogy “Beneath the Silence” (The Quiet Truth, The Art of Letting Go, and The Memory Keeper) was born out of personal experiences. Today, these works belong not only to me: every viewer finds in them their own story and path to inner healing.
A monochromatic palette and gold have become your signature style. What do these colors personally symbolize for you?
The black-and-white palette is the language of human life. White and black symbolize the light and dark periods that every one of us goes through. It is at the intersection of these states that experience, character, and depth of personality are born.
Gold appears for a reason. To me, it symbolizes the light that a person gains after going through trials. It is not about luxury in the conventional sense, but about inner value and resilience. Of course, monochrome and gold possess a timeless elegance, but it is important to me that behind flawless visual aesthetics there is always deep meaning.
You mentioned that true art is born from inner honesty. Is it not frightening to be so candid before the public?
Every time a painter creates a work based on personal experiences, the artist takes a risk and becomes vulnerable. But over time, I understood: the most sincere works always evoke the strongest response. People feel insincerity.
I do not strive to depict an ideal life. I am much more interested in speaking about what everyone goes through: doubts, loss, acceptance, hope. It is in these states that true closeness between the artist and the viewer is born. Honesty for me is not a weakness, but the foundation of art.
Each of your paintings is conceived as a "mirror for the human soul." How do you build this dialogue?
I do not want to impose ready-made answers; it is more important for me to offer space for feelings. For my paintings, I am gradually creating short author’s texts: they help unveil the concept of the piece, but do not limit human imagination.
If, after encountering my work, a person pauses for even a few minutes, remembers something important, feels peace, or understands their own emotions a little better—then the painting has fulfilled its task. Art is what remains inside us after we step away from the canvas.
In recent years, you have won prestigious awards, including the Grand Prix at Golden Time Talent (2026). How does recognition affect your practice?
International awards have become an important confirmation that I am moving in the right direction. It is especially valuable when your art is recognized by world-class professionals. Winning the Grand Prix is a great honor and a strong motivation.
At the same time, awards for me are not the final point, but a new step. They give me the confidence to experiment more boldly and enter new international platforms, while preserving the main thing—the emotional response of the viewers.
An important event was your participation in the World Talent Award 2026 festival-exhibition in London on the stage of The Shaw Theatre. What significance did this experience hold for you?
When I found out that my work would be presented at an international exhibition in London, I felt deep gratitude. Every artist dreams of their art being understood regardless of language or culture.
Realizing that my work became part of the exposition in London reinforced my belief that the language of emotions is universal. It is confirmation that my paintings are capable of speaking to people anywhere in the world.
Your works are exhibited all over the world—from Paris to the Middle East. Do you notice differences in how your paintings are perceived?
We may speak different languages and live in different traditions, but basic feelings—love, hope, pain, the desire to be understood—unite everyone.
It is especially dear to me when people from entirely different cultures share that they saw completely different, yet equally deep personal stories in the very same work. A painting does not dictate feelings; it helps a person hear themselves.
What difficulties have you had to face along your path, and how were they transformed into art?
Moving to another country, mastering a new language, the need to build one’s life and career anew—all of this required immense patience. But it was precisely these changes that taught me not to be afraid of starting over.
My paintings often tell the story of inner transformation precisely because the most valuable qualities are born after overcoming difficulties. Today, I perceive trials not as obstacles, but as experience that makes us wiser and deeper.
Where, in your opinion, is the place for your works—in private collections or in the quiet of museums?
For me, it is a great honor to see my works in museums and international galleries. But it is no less valuable to know that my painting hangs in the home of a person who finds support and inner peace in it every day.
I dream of creating works that will live long without losing their emotional power—paintings to which one wants to return years later, discovering new meanings at every stage of life.
