Victoria Plotnikova’s practice unfolds at the intersection of personal testimony and collective memory, where visual language becomes a means of articulating experiences that resist direct narration. Working primarily in printmaking including linocut, and colour monotype she constructs emotionally charged compositions in which the human body operates as both subject and vessel, carrying the imprints of trauma, endurance and transformation.
Informed by her lived experience of occupation and civilian captivity, Plotnikova’s work holds a quiet but undeniable intensity. Rather than documenting events literally, she translates them into symbolic, often fragmented visual forms that evoke the psychological realities of war and the fragility of identity under extreme conditions. Distortion, rupture and organic motifs recur throughout her compositions, forming a visual language that moves beyond the personal to reach a broader, shared human experience.
A persistent tension runs through her work between destruction and regeneration, vulnerability and resilience reflecting an ongoing search for meaning within fractured realities. Her practice engages deeply with questions of human rights, particularly the experiences of prisoners of war and the erosion of fundamental freedoms, positioning art as both a reflective and resistant act.
As co-founder of ToArtists, Plotnikova extends this ethos into a wider social context, supporting initiatives that foster dialogue, awareness and peacebuilding through visual art. Her work ultimately calls upon the viewer not simply to look, but to witness to engage with what is often unseen, and to reflect on the human condition within a shared global consciousness.
Are you self-taught, or did you undertake formal artistic training?
I undertook formal artistic training, completing both Bachelor’s and Master’s degrees in Fine Arts at the Kharkiv State Academy of Design and Fine Arts, specializing in printmaking graphics. My education was grounded in classical techniques and further shaped through study under established artists, which provided a strong technical and conceptual foundation.
How would you define your visual language or conceptual approach?
My visual language is symbolic and expressive, centered on the human body as a universal carrier of emotion and meaning. I approach art as a way to translate complex psychological and social experiences especially those related to war, identity, and transformation into forms that are emotionally accessible and visually distilled.
Can you describe your creative process from conception to completion?
The process begins with a conceptual impulse, often rooted in lived experience or reflection on social issues. I develop symbolic imagery through sketches, then translate these into printmaking techniques such as linocut or monotype. Each stage from carving to printing is deliberate, allowing the physical process to reinforce the emotional intensity of the subject.
Does narrative, symbolism, or storytelling play a role within your work?
Definitely, narrative and symbolism are central. Each work functions as a visual metaphor, often part of a larger series, where individual images contribute to a broader narrative about trauma, resilience, and hope. Symbolic elements such as tears, organic forms, or national motifs carry layered meanings.
Which artists have most influenced you historically or contemporarily and why?
My greatest influence is my husband and colleague, Alexander Stepanets. His strong civic position and remarkable creativity inspire me every day. His dedication to art as a tool for reflection and social engagement continuously shapes my own artistic thinking and practice.
What personal, cultural, or environmental influences shape your practice?
My practice is deeply shaped by my personal experience of war, including occupation and captivity. Ukrainian cultural identity, current geopolitical realities, and engagement with human rights issues are central influences, as is my current environment within the European artistic context.
Where is your studio based, and how does the space inform your creativity?
After my studio in the Kharkiv region was destroyed, it became difficult to establish a permanent creative space. I deeply value the time spent in shared artistic residencies with Alexander Stepanets, particularly at Gleis 70 in Zurich and La Dépendance in Lancy, which provided both space and freedom to create. Today, my creativity is not tied to a fixed location – home and studio exist wherever my passion and purpose are.
Do you have any rituals or rhythms that anchor your studio practice?
My practice is grounded in observation of human nature and a strong conceptual drive. The desire to contribute to peacebuilding, raise awareness of human rights violations, and address the issue of prisoners of war is central to my work. For me, the idea itself is the primary engine of creativity, it defines both direction and intensity.
What bodies of work or projects are you currently developing?
I am currently continuing the development of the series “Ways of Alarm”, exploring the psychological consequences of war alongside themes of human rights, displacement, and resilience. The series has been widely exhibited, and I was recently honored to participate in the exhibition “Women in War: Art as a Territory of Peace” at BasementArt in Vienna, Austria. This project was part of the international “16 Days of Activism Against Gender-Based Violence” initiative organized by UN Women Vienna, further reinforcing the social and humanitarian context of my work.
Where can collectors encounter or acquire your work?
Collectors can primarily encounter and acquire my work through my personal website, where contact details, including my email, are available for direct inquiries. I will also be presenting my work in upcoming exhibitions later this year, which remain an important platform for interaction, dialogue and art acquisition. Following my exhibition activity is the best way to experience new works and projects as they evolve.
For more information visit the Victoria’s website
