Interview with Victoria Vykhodtseva
- Cista Arts team
- Sep 30
- 4 min read
An interview with Victoria Vykhodtseva a visual artist and photographer.
What initially sparked your interest in pursuing art, and how has your journey evolved since then?
My background originally lies in TV and video production, where I worked as a director and producer. About ten years ago, my focus began to shift towards digital photography, as I believe it offers greater freedom and independence to an artist’s creativity. Whether exploring remote corners of the world or capturing moments in my own hometown, I am equally passionate about both abstract and candid photography—these two styles allow me to seize unexpected moments and reveal the magic of everyday life. I have always been a keen observer, and while certain themes, subjects, or characters may spontaneously spark my curiosity, it is my choice of light and composition that transforms these discoveries into compelling images. In recent years, I have been particularly drawn to abstract photography, as it enables me to move beyond direct representation and engage viewers on a more emotional and symbolic level.
In recent years, I have been particularly drawn to abstract photography, as it enables me to move beyond direct representation and engage viewers on a more emotional and symbolic level.
Can you tell us about a specific piece of your artwork that holds particular significance to you, and what inspired its creation?
There are several series that I value, but what I hold especially dear is Salt Marshes of Lancashire. These images were taken during the first UK lockdown, while I was living in isolation on a farm near Cockerham. With travel suspended and movement limited, the surrounding marshes became both a subject and a solace—a place shaped by natural rhythms and a counterpoint to the sense of global stillness. Twice a day the sea recedes to reveal textured pastures where sheep return to graze, and I was drawn to the quiet resilience of this landscape—a fragile, shifting border between land and water, solitude and habitation. Although the photographs are realistic, they carry echoes of English Romantic painting, where atmosphere, light, and nature’s vastness become metaphors for human emotion. In this series, the sheep emerge not only as inhabitants but as sentinels, both shaped by and shaping the terrain. Light, space, and silence play central roles, inviting the viewer to linger on textures and tones that speak of endurance, erosion, and waiting. For me, the salt marsh is more than a backdrop: it is a living character. These photographs honour its subtle presence and the quiet drama within its tides.
How do you navigate the balance between staying true to your artistic vision and experimenting with new techniques or styles?
My work is rooted in a non-staged, observational approach, inspired by traditions of candid and street photography. At the same time, I constantly experiment with composition, light, and perspective in order to push the expressive possibilities of photography. I aim to remain faithful to the authenticity of the moment, but I also allow myself to explore atmosphere and abstraction, so that each image reflects both reality and my personal vision. At present, my main focus is abstract fine art photography, a process I find deeply engaging and one that often produces unexpected results, opening new ways of seeing beyond the immediate subject.
My main focus is abstract fine art photography, a process I find deeply engaging and one that often produces unexpected results, opening new ways of seeing beyond the immediate subject.
What role do you believe art plays in society, and how do you envision your work contributing to the artistic dialogue?
I believe art allows us to see connections where divisions are often emphasised. Living and travelling in diverse cultures has taught me that our world, despite its complexity, is deeply interconnected. Through my photographs, I want to foster understanding and reduce apprehension, particularly by showing aspects of cultural diversity that might otherwise remain unseen. My contribution lies in creating images that open up quiet, contemplative spaces within the broader artistic dialogue. At the same time, I feel that I belong to this common space: art is a sphere where everyone can enter, either as a creator or as a viewer. I am grateful to be part of it and to share fragments of my world within this shared space.
My contribution lies in creating images that open up quiet, contemplative spaces within the broader artistic dialogue.
Are there any upcoming projects or themes that you're excited to explore in your future artworks, and if so, what draws you to these ideas?
I have several projects in mind. On one hand, I would like to revisit the Salt Marshes project and look more closely at peaceful, remote rural locations. On the other, I continue to gather material for my Red Rush series shot in London, which aligns with my recent focus on abstract studies and has become an enormous source of inspiration. I also remain open to unexpected bouts of inspiration - experimenting with still life or long exposure - those unplanned encounters that are hard to predict but always welcome to me as an artist.
How do you hope your art will impact viewers, and what message or emotion do you aspire to convey through your creative expressions?
I hope my photographs invite viewers into a space of contemplation rather than immediate conclusion. The themes I explore - solitude, ritual, and the resonance of place - are not meant to instruct but to evoke reflection. If my work encourages someone to look more closely, to feel a connection across cultures, or to find a moment of stillness in the image, then it has achieved what I set out to do. At the same time, I recognise that the impact depends on the project: my series created in Asia were intended to show different cultures and their diversity, while my still life and abstract works are designed to engage viewers on a more emotional and atmospheric level, while also providing a sense of visual pleasure.
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