Liza Hihlushka builds bridges between memory and the urban landscape, using drawing as a tool to capture the quiet beauty of overlooked spaces. Deeply connected to the places lived and left behind, Liza creates work that transforms industrial facades, unremarkable buildings, and ordinary cityscapes into poignant explorations of identity and belonging. Each piece reveals the soul of a city while reflecting a deeply personal journey.

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How has your upbringing and cultural background influenced your artistic journey and creative expression?

My hometown has had a direct influence on me. I can even say that nostalgia for my city was the impulse that started my artistic journey. I was born and lived in Belarus until I was 20, and in 2018, I moved to Poland to study. It was a difficult period for me, during which I spent a lot of time reflecting on where I wanted to live, my future, my goals, and my desires. I have loved drawing all my life, and even in primary school, my answer to the question ‘Who do you want to become?’ was ‘An artist.’ Ultimately, I chose architecture and enrolled in the Bachelor's program in Architecture at Gdańsk University.

 

Over time, I realized that, despite my passion for architecture and urbanism, the path of an architect was not for me. While living in Gdańsk, I started drawing my hometown, Minsk. These were simple pencil drawings of typical Belarusian cityscapes, especially panel buildings, which subsequently became the main theme of my work. Dull and depressive, yet so familiar, the reinforced concrete panel buildings still hold a strange allure for me to this day. My knowledge of urbanism and architecture helps me dive deeply into the urban context, allowing me to analyse and see more than just buildings or streets. My emotional connection to Minsk was quite strong, so I was partly glad when the pandemic allowed me to spend a year at home and finish my studies remotely. That time at home gave me an opportunity to draw more, and I even participated in my first exhibitions featuring works about Minsk. Since that moment, I firmly decided to return to Belarus and began building my artistic career there. At the same time, I started working as a graphic designer, and then as an illustrator, thereby bringing my work as close as possible to drawing.

 

Although I did not connect my job with architecture, I absolutely do not regret gaining that knowledge. Perhaps without it, my creativity would not have existed in its current form or might have taken a completely different direction. I continue to deepen my knowledge, particularly in urban studies, which remains one of my main sources of inspiration. I explore other places on the map and do not limit myself to Belarus. From 2022 to 2023, I lived between two cities, Minsk and Paris. I have always liked street art, but Paris strengthened this interest, and I began incorporating urban art elements into my works.  In the spring of 2024, I moved to London, specifically to East London, where I currently live. This area has become a significant new source of inspiration for me. I have continued exploring themes of the urban environment, just as I did in Belarus. Of course, working with a location that you know inside and out, it is easier to create works that will definitely resonate with local audience. London, however, is a new challenge for me as an artist. I am currently in the process of exploring this new urban space, and throughout this journey I create drawings and paintings, which convey my emotions and perceptions of my new surroundings.

Explain the allure of art in your life. Why art, among all other mediums of expression?

To be honest, it is a really difficult question, because at first glance it seems like an unconscious choice. Fine arts have always been my main means of expressing emotions. Some things are hard to put into words especially vague concepts like the perception of certain places or how you feel in those places. It is what I try to ‘say’ with my works. I arrive in a new city, I am going by train and see some landscapes through a window, or I feel nostalgic about the areas where I spent my childhood, and I want to share these emotions and atmosphere with other people. If I didn’t transfer my expressions onto paper or canvas, I wouldn’t know what to do with them in my mind. Fine arts give me the opportunity to communicate with my audience more fully. 

 

On the other hand, it seems like my interest in art developed when I was a child thanks to my mum. She worked as an art teacher, so I was involved in drawing, visiting exhibitions, theatres, and art museums from an early age. Undoubtedly, it impacted me and I have continued this lifestyle into adulthood. Summing up, art has always been an essential part of my life. It inspires me, it is a way for me to relax, and it is both something I do for joy and as part of my illustration work. Incorporating drawing to my job makes it feel even more special, as I get to combine passion with trivial working tasks. I never get tired of the process —it’s something I truly love. My usual day can be like that: at the morning I create patterns for clothes, then some work on series of posters and for rest I choose to draw some sketches for future paintings. Beyond the act of creating, I get great joy from seeing how people interact with my art. Whether it’s a painting at an exhibition, or an illustration on T-shirt, the way it connects with others incredibly motivates me to continue my artistic journey. 

Discuss the importance of messaging in your art and the audience’s understanding of it. How crucial is it for your audience to grasp the message behind your artwork? Do you create with a specific message in mind, and how do you gauge its reception?

Basically, my message is aimed at people who are in the know about the places or cities I depict. For example, I drew a lot of non-tourist spots in Minsk, which are familiar and recognizable only to locals. My goal was to share with them the experiences of certain streets, buildings and cultural phenomena, understandable and meaningful only to us. Through these works I still feel a connection with my hometown, especially now when many Belarusians, including my friends and relatives, are living abroad. When my locations change, so does the focus of my art. London is a new unexplored area for me, which inspires me with its vastness and diversity. I started slowly, beginning with East London, where I currently live. I wander through streets lined with brick houses, take photos, and notice the unique colours and architectural details. Then, I translate these impressions into works on paper or canvas.

 

Through drawing London, I am not only learning to understand the city but also discovering points of connection with the city itself and its people. My goal is to capture the atmosphere of specific places —something recognizable and meaningful for locals while also offering an abstract allure of cityscape for unfamiliar with the area. For some, my works evoke a sense of something familiar; for others, they spark personal interpretations of these pictures. I never include images of people in my art, but I like to show human presence through minor details like graffiti, light in windows, wires, and air conditioners on walls. I find it fascinating how such small, seemingly trivial details can evoke a sense of connection between residents of this place and the place itself. They hint at humanity without making it explicit, leaving room for interpretation.

 

Also, I am attracted to industrial landscapes with shabby walls, concrete fences and, in general, places that are usually considered unattractive. But for me they have a special allure, I see a specific beauty in all these pipes and metal structures. And I want to share it with the audience, to convey this strange atmosphere of the aesthetics of faceless spaces. I really enjoy when people recognize the places I draw or notice the unique local features I've included in my artwork. However, what I find even more fulfilling is when someone brings their own perspective and personal experience into their interpretation of my art. The audience can make me see my works from another angle and highlight what I might not have considered. For me, it is never about my message being 'undelivered'; rather, it is an opportunity for inspiration and new ideas. 

Share your sources of inspiration. What are your primary sources of inspiration? Do these come from personal experiences, observations, history, nature, or other artists? Can you give specific examples of how these inspirations have manifested in your work?

My primary source of inspiration is my urban surroundings. I enjoy observing how people interact with the city, noticing overlooked elements like chimneys, pipes, old signs, graffiti, and other unremarkable details. These unnoticed fragments of unique visual language tell the story of a city, and I find it fascinating to highlight such locally significant places and objects. For me, every city has its own character, and I try to capture it by collecting these elements. Using them I create urban compositions by combining pieces from different locations and adding characteristic details of the area. I usually go for walks with the specific goal of finding good references for my paintings. Although, sometimes it happens spontaneously, I might just notice something interesting: a colourful wall, an oddly shaped chimney, or a contrast of shadows on a building. 

 

The style of my works can vary. Some are very abstract, not tied to a specific place, but the style and atmosphere often give a hint of where such a place might be if it were real. Alternatively, I sometimes depict scenes exactly as they are, without any changes. In these cases, I like to ‘cut out’ visually a specific building or group of buildings and place them against a solid white background. Another major source of inspiration for me is traveling. Experiencing new places helps me analyse my own city more deeply by contrasting it with something unfamiliar. New emotions, unusual landscapes, and different routes have an impact on my desire to create new artworks. I also draw inspiration from my interest in architecture, urbanism, and street art. I enjoy casually studying these subjects. One of my current favourite books, ‘Atlas of Brutalist Architecture’, is always on my coffee table. Before every trip, I check whether there are buildings from this book that I can visit in the area.

 

As I mentioned earlier, my time in Paris significantly deepened my interest in urban art, and since then, it has become a hobby. I am always thrilled when I come across works on the street by artists I have read about in ‘Graffiti Art’ magazine or discovered in books about street art. I believe murals, graffiti, stickers, and other forms of street art bring life to urban spaces and humanize the monotonous walls of buildings. That’s why I incorporate graffiti stains into my paintings. Sometimes, I like to add the word 'nice' as graffiti, which seems a bit ironic to me, particularly, when I put it on an ugly building with shabby walls. The purpose of this is to attract the audience's attention to the often-overlooked urban spaces and encourage people to try to find beauty in them. Of course, I must also mention certain artists that motivate and inspire me. There are a lot of them, but I will likely focus on a few. For example, Edward Hopper’s paintings highly resonate with me through the atmosphere they convey. It seems like in his works time stands still, an unnatural silence sets in, and something unknown is about to happen. I admire how these feelings are conveyed indirectly and strive to evoke emotions through my paintings just as effectively. Also, the works of artists Christo and Jeanne-Claude resonate with me. Through their works, the artists transformed the appearance of cities and our perception of them, ‘erasing’ significant elements from the urban landscape. In their sculptures ‘Show Cases’, they created interiors that could not be fully seen, evoking a sense of dissatisfaction in viewers. I admire their play with space, it leaves an impression of incompleteness, a mystery. I strive to convey these same feelings in my own works.

In what ways do you find art to be therapeutic, either for you as the creator or for your audience? 

Living between Minsk and Paris was a significant period for me in shaping subsequent decisions and future plans. I was mentally preparing to move to London, but feelings of longing for Minsk overwhelmed me. It is almost impossible to remain indifferent to the place where you grew up and spent years accumulating important memories. At that moment, I decided to channel all these complex emotions into creativity. This led me to start a series of pencil drawings dedicated to my hometown. The size of the Parisian flat didn’t allow me to work on large sheets of paper, so I found a creative solution that later became a key part of the series' concept. All the drawings were made on A4 sheets glued together to form a larger format, which not only simplified their storage and transportation but also symbolized the fragmented nature of my memories. The main theme of the series was the places in Minsk that I love, places filled with familiarity and personal meaning. I depicted them by blending my memories with photographs I had taken while living in the city.

 

Our memory is not perfect, and neither are my drawings in this series: some elements are missing, while others include details that do not exist in the real landscapes. In this way, I created about 15 drawings. Upon returning to Minsk, I held a solo exhibition showcasing these works. I named the exhibition ‘Minsk in the Head’, a title that can be interpreted in many ways. First, it obviously reflects my memories of the city. Second, it conveys the intimate and cozy atmosphere of the exhibition, aimed at resonating with every Minsk resident. Lastly, it touches on the common experience of many Belarusians who have left the country: no matter where you are and how well you feel there, the love for your homeland remains with you forever. Working on these drawings was truly therapeutic for me. I managed to release the destructive emotions that had been holding me back from continuing my artistic journey in a new country. Now, my feelings toward Minsk are no longer as heavy. I can even say that only warm feelings remain, and I am ready to be inspired by something new. However, I still collaborate with Belarusian brands and private clients, creating illustrations with Belarusian themes. I am really glad to still have the opportunity to stay connected to my national identity through these projects. 

Offer five pieces of advice to artists who are experiencing discouragement or creative blocks. 

Creative blocks are always terrible, and of course, I run into them from time to time as well. Here are some of my methods for dealing with creative blocks, and I hope these are helpful.

 

✧ Change your environment

Sometimes, when it seems like everything goes wrong – drawings don’t turn out well, and ideas don’t come to you – it is better to stop and make a break. Step outside your usual workspace and immerse yourself in a different setting. This could mean taking a walk-in nature, exploring new urban places, or visiting a gallery or museum. New surroundings often stimulate fresh ideas and help you see familiar subjects in a new light.

 

✧ Sketch more

Remember that not every drawing has to be a masterpiece. Allow yourself to create freely without the pressure of achieving perfection. Sketch random ideas, experiment with new techniques, or use materials you don’t usually work with. I keep an ‘ugly sketchbook’ in which I allow myself to draw whatever I want without fear of doing something messy, uneven, or silly. This sketchbook for me is a kind of artistic comfort zone. And then, leafing through it at times, I often come across ideas worthy of realisation.

 

✧ Look for inspiration outside your medium

Try to find new sources of inspiration outside your usual medium. On the first glance, all my hobbies are circumstantially related to my art, but they influence it directly. For example, interest in architecture and urbanism helps me to analyse urban spaces better so that I can create more thoughtful works. Similarly, traveling and street art broaden my perception. Your inspiration doesn’t have to be directly tied to your art — it could come from music, literature, science, or even something as simple as a hobby you enjoy. Anything that excites and engages you can fuel your creativity.

 

✧Don’t force yourself

Sometimes, creative block is a sign that you indeed need a pause and time for recharging. Use this time to review your past work or think about what originally inspired you to start creating. Personally, I take these breaks as an opportunity to figure out what the next series of works I want to create. Having a plan or a clear direction makes it much easier to return to work. 

 

✧ Draw regularly

This may sound contradictory to the previous point, but maintaining a balance between breaks and work can be crucial. Such creative blocks can drag on, and the only way out might be to just start drawing  again – anything, little by little. It is best to make sketches from life, in this case, you won't find yourself frozen in front of a blank sheet of paper, unsure of what to draw. This approach has always helped me if I was stuck in a non-drawing stage for a long time.

What are your long-term goals and aspirations as a professional artist?

As an artist, my long-term goals are related to process: continuing to create my art, developing drawing skills, and building a strong connection with my audience. My works have always been tied to the places I live, so for me, drawing is not just a medium but a way of interpreting the world around me. Thus, I aim to remain actively engaged in London’s cultural life through participation in exhibitions and artistic events. Regarding drawing techniques, I have my favourites, but I am also constantly searching for new methods, which fascinate me every time. I believe that approaches to the creative process I am not accustomed to can improve my works not only visually but also by leading to new ways of conveying ideas.

 

Another aspiration is to collaborate with local brands in the UK. Quite often, the line between creating commercial illustrations and artistic works is blurred for me. Collaborations are as much an opportunity for me to express my creativity as participating in an exhibition. I like working with brands because it allows art to reach audiences in unexpected ways, blending creativity with functionality. I strive to work on projects where my artistic style resonates with people on both an aesthetic and personal level.

Currently, I create all my works at home, which limits me significantly in terms of their size and the type of media I can use. Therefore, my dream and, I hope, my goal is to have my own art studio. It would allow me to create in more comfortable conditions and, consequently, immerse myself in the process more deeply.

One of my most specific aspirations is to hold a solo exhibition in London centred around a series about the city. I want to capture the essence of this place through my art, creating works that reflect my personal connection to the area while also inviting viewers to see it through my eyes. A solo exhibition would be an opportunity to share this journey and create a dialogue with a new audience.

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Liza Hihlushka’s art stands as a testament to the power of place in shaping who we are. Through their evocative urban compositions, Liza invites viewers to find beauty in the mundane and reconsider their relationship with the spaces they inhabit. The work offers a meditative lens on how memories and environments intertwine, creating a dialogue between past and present, self and surroundings.