Dasha Wesel is a Philadelphia-based visual artist who translates the structural logic of engineering into vibrant, geometry-driven explorations of human experience. Born and raised in Belarus, she synthesizes technical precision with a personal visual language forged after losing her mother, her first mentor. She works primarily through drawing and serial composition, using geometric exactitude to map memory, emotion, and the interlocking puzzles of identity. Structure governs her process. Each series grows from one foundational drawing, evolving into arrangements where bold colour and rigid form intersect. As a conceptual artist, Wesel bridges technical discipline and emotional resonance, daring viewers to navigate her ordered compositions to find their own stories. Her work transforms mathematical logic into reflective space, transcending the grid to evoke shared history. Wesel exhibits widely, featuring at NoName Gallery in Philadelphia and Perseus Gallery in Soho. She continues to investigate the architecture of feeling, offering a soulful perspective on modern life.
Are you self-taught, or did you undertake formal artistic training?
I am primarily self-taught, since art has always been a very natural part of my life. Growing up, I attended both art and music school, which exposed me to different forms of creative expression early on. One of my biggest artistic influences was my mother. She was an artist herself, creating very unusual, almost surreal pencil drawings, and she recognized my potential quite early. She really encouraged me to see art not just as something I enjoy, but as a possible life path. She was my mentor, my best friend, and my closest creative companion.
After she passed away when I was 17, my path shifted. I chose to pursue engineering for practical reasons, but interestingly, that experience became an important part of my artistic language. I was very interested in technical drawing, I especially enjoyed working with line and structure.
So I’d say my background is a combination of early artistic training, growing up in a creative environment, and a commitment to developing my skills and mastery as an artist.
How would you define your visual language or conceptual approach?
Geometric shapes represent the foundation of a single sketch, while color acts as the primary tool for creating multiple paintings and stories from that one drawing. Once the right colors are added, any shape, line, or geometric figure can become a story.
Can you describe your creative process from conception to completion?
I mostly work in series. My process usually begins with a single drawing, and from there, it gradually expands into a larger body of work. I tend to start with geometric shapes and minimal forms, allowing them to evolve intuitively into the final piece.
As the series develops, these initial shapes can unfold in different directions: sometimes into playful or even humorous narratives, sometimes into more tender or melancholic moments, and other times into something deeply personal.
Colour plays a crucial role in this process. It’s what ultimately brings the work to life, transforming a “simple” drawing into something more layered, where a new story or a fragment of lived experience begins to emerge.
Does narrative, symbolism, or storytelling play a role within your work?
Every series of paintings has a story behind it. It might be humorous, topical, or personal, but it is always there. I start every series with the story I want to sketch out. Once the drawing takes shape, color helps me realise whether the story will be short or long.
Which artists have most influenced you historically or contemporarily and why?
I wouldn’t say I’ve been influenced by anyone in particular. I only look at artists through the lens of what interests me: their life story, the narratives within their work, the way they layer color and texture, or even their approach to PR, which makes following their growth and commercial evolution quite fascinating. I love Henri Matisse for his use of color and the peacefulness in his paintings. I admire René Magritte for his clever, riddle-like pieces. I’m drawn to Andy Warhol for his creative journey, his audacity, and his versatility. I like Brian Donnelly for his vibrant colors and his characters. I like many modern artists who have a signature style; even if I don’t personally connect with their artwork, developing a personal style is a huge achievement in an ever-growing art world.
What personal, cultural, or environmental influences shape your practice?
Naturally, my personal history is at the heart of my creative practice. My pieces are influenced by my background in technical drawings, the same way the black and white sketches at the beginning of each series are influenced by my mother’s sketches, which I became very familiar with as a child. Finally, my works display an abundance of color, which is a valuable reminder that we all create and color our own stories. We adjust the vibrancy and emotional tone ourselves.
Where is your studio based, and how does the space inform your creativity?
My studio is located at my temporary home where I live with my family. I like that my husband is always supporting and admiring my work. Any artist finds having a reliable and supportive partner important. I also like that my son enjoys watching my process, and getting involved in it by sharing his thoughts and offering his own ideas. In several series, I made actual changes based on his comments. I realized that his young, fresh mind sees very pure and kind images within my not so lighthearted stories, and I think it’s necessary to incorporate them into my canvases.
Do you have any rituals or rhythms that anchor your studio practice?
That would definitely be music (using my headphones if I am not alone) with mandatory dance breaks. Whether I’m just approaching the canvas or searching for the right brush, I always have to dance a little. In my family, we have one main rule now: Do you hear music? Dance. We are learning how to create our own mood, even during dark times. That is exactly what my work is about.
What bodies of work or projects are you currently developing?
I’m currently finishing a series called Big Brother is Watching Everyone, which I actually started a couple of years ago but couldn’t complete because the vision in my head hadn’t fully come together. But a lot has been happening in the world as of lately, so the time to wrap it up has finally come. The second painting in the series is specifically about how we try to live peacefully while being surrounded by total chaos and someone is always trying to control us. To continue to live as you choose, nowadays, can be considered art.
Where can collectors encounter or acquire your work?
You can purchase my work by messaging me directly on Instagram. You can also find me at upcoming exhibitions where I plan to show my work. For future announcements, or if you find my art compelling and are curious to see where my professional journey leads, I invite you to subscribe to my social media channels.
