Masha Strebkova
Paintings
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Emotional states take form through color, gesture, and raw materials.
Untitled (Black and Red), I
Acrylic on raw canvas
57 x 38
Untitled (Black and Red), II
Acrylic on raw canvas
57 x 38
Untitled (Blue)
Acrylic on raw canvas
70 x 50
Untitled (Blue and pink)
Acrylic on raw canvas
70 x 50
Red figure
Acrylic on raw canvas
80 x 57
I work in abstract painting as a way to make internal states visible. My process begins not with an image, but with a feeling — often grief, longing, tenderness, or the quiet tension between loss and hope. Paint becomes a language for what is difficult to name.
I am drawn to raw surfaces, stains, and layered marks that hold traces of time and movement. I allow chance, dilution, and gravity to participate in the work, treating the canvas as a place where control and surrender coexist. Each painting evolves slowly, through attention and listening rather than resolution.
My background includes a rigorous, disciplined art education that emphasized precision and restraint. My current practice is about unlearning — allowing emotion, vulnerability, and ambiguity to remain present. I am interested in the subtle shifts within a painting: where sadness softens, where heaviness lifts slightly, and where something quiet but resilient begins to emerge.
These paintings are not illustrations of emotion, but containers for it — spaces where feeling can exist without explanation.
Masha Strebkova
Emotional states take form through color, gesture, and raw materials.
Untitled (Black and Red), I
Acrylic on raw canvas
57 x 38
Untitled (Black and Red), II
Acrylic on raw canvas
57 x 38
Untitled (Blue)
Acrylic on raw canvas
70 x 50
Untitled (Blue and pink)
Acrylic on raw canvas
70 x 50
Red figure
Acrylic on raw canvas
80 x 57
I work in abstract painting as a way to make internal states visible. My process begins not with an image, but with a feeling — often grief, longing, tenderness, or the quiet tension between loss and hope. Paint becomes a language for what is difficult to name.
I am drawn to raw surfaces, stains, and layered marks that hold traces of time and movement. I allow chance, dilution, and gravity to participate in the work, treating the canvas as a place where control and surrender coexist. Each painting evolves slowly, through attention and listening rather than resolution.
My background includes a rigorous, disciplined art education that emphasized precision and restraint. My current practice is about unlearning — allowing emotion, vulnerability, and ambiguity to remain present. I am interested in the subtle shifts within a painting: where sadness softens, where heaviness lifts slightly, and where something quiet but resilient begins to emerge.
These paintings are not illustrations of emotion, but containers for it — spaces where feeling can exist without explanation.
Masha Strebkova
Emotional states take form through color, gesture, and raw materials.
Untitled (Black and Red), I
Acrylic on raw canvas
57 x 38
Untitled (Black and Red), II
Acrylic on raw canvas
57 x 38
Untitled (Blue)
Acrylic on raw canvas
70 x 50
Untitled (Blue and pink)
Acrylic on raw canvas
70 x 50
Red figure
Acrylic on raw canvas
80 x 57
I work in abstract painting as a way to make internal states visible. My process begins not with an image, but with a feeling — often grief, longing, tenderness, or the quiet tension between loss and hope. Paint becomes a language for what is difficult to name.
I am drawn to raw surfaces, stains, and layered marks that hold traces of time and movement. I allow chance, dilution, and gravity to participate in the work, treating the canvas as a place where control and surrender coexist. Each painting evolves slowly, through attention and listening rather than resolution.
My background includes a rigorous, disciplined art education that emphasized precision and restraint. My current practice is about unlearning — allowing emotion, vulnerability, and ambiguity to remain present. I am interested in the subtle shifts within a painting: where sadness softens, where heaviness lifts slightly, and where something quiet but resilient begins to emerge.
These paintings are not illustrations of emotion, but containers for it — spaces where feeling can exist without explanation.