10 Questions with Marina Pryiomova

Marina Pryiomova (1989) is a Ukrainian artist and gallery owner, now based in London.
In 2019, Marina founded ART ISSUE GALLERY, a space dedicated to supporting contemporary art in Kyiv. That same year, she completed her online studies in Product Design at KLC School of Design, London and continued her education in art and design.

In 2020, she graduated from Sotheby’s Institute of Art, focusing on auction studies, and successfully organized charity auctions featuring Ukrainian artists while also studying painting with mentors.

In 2021, Marina moved to Tel Aviv, where she delved deeper into self-exploration as an artist, leading to her solo exhibition, Immanence of Being. During this time, she also earned a master’s degree in Diplomacy and Conflict Resolution.

In 2024, she relocated to London and, in the same month, participated in a group exhibition, Physical, at Holy Art Gallery (London), and a group exhibition at Excelsior Studios (London).

The artist works in painting, objects, and installation, using various media to explore complex themes.

@priyomovamari

ARTIST STATEMENT

“In my artistic practice, I research themes of neofeminism, biopolitics, self-identification, and memory. I explore neofeminism as the pursuit of freedom through women’s perspectives, moving beyond societal stereotypes and expectations. The female body, perceived as a timeless symbol, transcends its physical form to represent profound ideas and emotions. It serves as a starting point for reflecting on women’s roles in modern society, their contributions to creation and development, their awareness, and, ultimately, their preservation of identity.

Biopolitics, including issues of control over the body, reproduction, and even life and death, is another essential aspect of my reflections. These topics raise questions about how we construct identity outside the constraints of societal and institutional frameworks. Experiences of constant immigration and shifting communities around me inspire personal “excavations” of my cultural roots. I have come to see land as a guardian of memory—a repository of traditions and values—and as a means of transmitting knowledge into the future.

Family and faith, for me, represent a safe space where I find protection from the external world. These connections shape my vision, and my works are dedicated to preserving and conveying ideas beyond the reach of institutions and political agendas.

Currently, I am focused on creating installations and large-scale canvases, experimenting with textures and contrasts. It is essential to me that my works are multilayered, offering a rich, hybrid experience for viewers, enabling them to explore sensitive themes and emotions.”

— Marina Pryiomova

INTERVIEW

First of all, introduce yourself to our readers. Who are you, and how did you first become interested in art?

My name is Marina Priyomova. I am originally from Odessa but am currently based in London. Despite living away from my homeland, my heart always holds love for Ukraine, its culture, and its unique spirit, which are reflected in my art. I am an artist specializing in abstract painting and installations, and my creative journey began a while ago, about twelve years ago. One day, I found myself in the studio of a well-known tapestry artist while working in the field of interior design. At that time, I had no idea that I could paint. She literally made me sit down and paint a still life with other students. From that day on, I became a regular visitor to her studio. Thanks to her support and mentorship, I began to confidently walkthe path of an artist, experimenting with techniques, searching for my own style, and finding inspiration in the most unexpected places. This unexpected encounter, which became a turning point in my life, allowed me to realize that art is not just a job but a way of understanding the world, expressing my feelings and thoughts, and sharing with others what lies within.

You have a diverse background in art, design, and diplomacy. How have these different areas influenced your artistic practice?

In my opinion, any background knowledge can enhance artistic practice if you know how to use it appropriately. My creative journey is enriched by experiences in both art and diplomacy, which allow me to see the world through the prism of cultural diversity and political processes. My diplomatic background helps me explore important topics such as history, self-identity, and traditions related to territorial context. Art has become a powerful tool for me to express these complex ideas in an emotionally rich and visually impactful way. Thanks to this synthesis, my projects acquire multilayered content and become accessible to a wide range of viewers.

Human Mosaic, canvas, plastic cups, acrylic, 100х130 cm, 2023 © Marina Pryiomova

Mirror of Humanity?, canvas, plastic cups, acrylic, 100x130 cm, 2024 © Marina Pryiomova

You work with painting, objects, and installations. How do you decide which medium best expresses a particular idea?

I don't want to speak about obvious truths — of course, everything starts with researching a theme, and it's hard to predict what the outcome will be. Considering my very passionate nature and strong emotional involvement in the process, the final result is completely unpredictable. Large formats in painting help me express myself more vividly. However, sometimes, the theme I'm working on demands more than just a flat image. I try to create works that surround the viewer, engaging them in a dialogue with space and materials. In my opinion, installations and objects are the best way to involve not only visual but also tactile and spatial aspects. They create an immersive experience that resonates on multiple sensory levels.

Your recent focus has been on large-scale canvases and experimenting with textures. What excites you most about this direction?

I have always been inspired by large-scale canvases and installations created by other artists. Working with a big format definitely requires tremendous responsibility and can seem intimidating at first. However, once you cross that threshold and start creating on such expansive surfaces, it's impossible to stop. In my mind, images and ideas arise that are not limited by budget constraints or the technical possibilities of materials. I allow myself to dream to the fullest, without considering practical limitations. Of course, the creative process always brings its adjustments: sometimes, I have to leave the initially chosen material or rethink the concept. But this very process of searching, adapting, and compromising is an integral part of my creativity. It brings not only new solutions but also deep personal satisfaction, even if it sometimes causes frustration. Thus, I am inspired by the opportunity to work with large formats, where scale becomes a space for freedom of experimentation, and each obstacle turns into a new creative challenge.

Early Morning Landscape, Canvas, oil, 120x100 cm, 2024 © Marina Pryiomova

Your work explores themes of neofeminism, biopolitics, and self-identification. What first drew you to these subjects?

As I mentioned earlier, this is directly connected to my background in diplomacy. These are the issues that deeply concern me, and I don't want to separate my artistic practice from the knowledge and interests that are present in my life every day. In the past three years, I have gone through the immigration process twice, experiencing this journey firsthand. Confronting different cultures and searching for a new place for myself made me think more about my self-identity and the influence of power and politics on this issue. For me, art is the only way to express my emotions and states of mind, integrating my knowledge, interests, and daily experiences into my creative process.

The female body plays a central role in your art. How do you approach representing it beyond traditional societal perspectives?

In my work, the female body is depicted through the prism of abstraction, where I strive to capture the essence of each stage of femininity — whether it be pregnancy, childbirth, the postpartum period, or the everyday state. These experiences are deeply personal to me, as I have gone through them myself, being pregnant twice in the last three years. By blending abstract forms with elements inspired by the female body, I aim to go beyond traditional representations and stereotypes, conveying raw emotions, transformative processes, and the complexities accompanying these stages of life. My work seeks to evoke an inner connection in the viewer and invites them to reflect on the depth and power of the female experience.

How does your experience of immigration and shifting communities influence the way you explore memory and cultural identity in your work?

The experience of immigration and constant change of environment has deeply influenced my perception of memory and cultural identity. When you are in a familiar place, surrounded by loved ones and recognizable spaces, many aspects of cultural identity are taken for granted. However, when you literally lose the ground under your feet, you are forced to cling to something truly important and fundamental. For me, these pillars became traditions, history, religion, and memory. These elements not only shape my identity but also help me stay afloat during the most challenging moments of life. They become an inner compass, allowing me to understand why I am here and find the strength to move forward, fully aware of my origins and direction. This personal experience of transformation is reflected in my work, where memory and cultural heritage act as anchors, connecting the past and the present.

You recently participated in exhibitions in London. How has the response to your work differed across different cultural contexts?

At an exhibition in London, viewers often perceive abstract forms as symbolic images, striving to find hidden meanings and emotional undertones. They actively engage with the paintings, attempting to interpret them through the prism of personal experience and cultural associations. This is especially noticeable in cities like London, where the audience is accustomed to conceptual art and open to intellectual dialogue.

Have any audience reactions or interpretations of your work surprised you or made you see it in a new way?

I am pleasantly surprised that each viewer finds something personal in my works. I believe this is natural: the viewer perceives a piece of art through the lens of their inner world, and this is the magic of art — you cannot give what you don't have inside. At the exhibition, many were very curious about the technical aspects of creating such large-scale works and how I managed to handle them.

Midday Landscape, Canvas, oil, 120x100 cm, 2024 © Marina Pryiomova

Finally, what are you currently working on, and how do you see your artistic practice evolving in the future?

I am about to start an exciting new chapter in my life, as I have just enrolled in the Painting program at the Royal College of Art. I feel that a completely new phase awaits me, one filled with experimentation and discoveries, and I am genuinely curious to see what this period will bring. Right now, I am working on a new installation where I am experimenting with materials that are completely new to me — clay and jute — while also continuing to explore painting. I am curious to see how all of this will evolve and how my artistic practice will develop in the future. I believe that this new experience will expand my possibilities and allow me to find fresh ways of self-expression, bringing together different techniques and materials into a cohesive creative process.

Artist’s Talk

Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.

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