How did you enter the profession?

I suppose it all started in childhood. I loved drawing and, despite having no formal preparation, I was accepted into an architectural college, which I graduated from with honors. After that came the Moscow Architectural Institute and a position as an architect at a large design institute. In 2006, I became a lead architect at Arsi-A, where I worked not only on building design but also on interior projects.

Over time, I realized that I wanted to see a project through from the initial concept to the final result. That is when I began my independent journey as a private architect and interior designer. Creativity, inspiration, and the ability to watch an idea become a real space have always been important to me.

Do you remember your first completed project?

To be honest, it is difficult to remember my very first interior design project. Before that, I had worked on major architectural developments, including the reconstruction of the Lianozovo and Tsaritsyno dairy plants, bank office interiors, and other large-scale projects. It was a serious engineering and architectural environment.

One of my first independent interior design projects was an apartment on Leninsky Prospekt. At that stage, there was still a great deal to learn through practical experience, but projects like that help you grow professionally very quickly.

How has your design philosophy evolved over the years?

It has changed significantly. Today, I have a very clear work structure divided into three stages. Each stage usually takes about two and a half to three weeks. I always communicate deadlines in advance, but I never rush clients when it comes to making decisions.

Even the payment process is designed to make clients feel comfortable. Instead of requesting a large upfront payment, the work is paid for in stages. Clients appreciate the transparency and flexibility of this approach.

Which project stands out the most in your memory?

Usually, the most memorable projects are those where the clients are so delighted with the result that they recommend you to everyone they know.

One of the most distinctive projects was an apartment in Maryino. We incorporated a variety of unusual design elements, including decorative grass on the ceiling, a mural featuring characters from The Simpsons, a helicopter-shaped shelf, a fireplace integrated into a shelving unit, and even wooden logs incorporated into the bar area.

However, what made the project truly special was not the design itself but the trust of the client. When clients genuinely trust their designer, that is when the most creative and unexpected solutions emerge.

Where do you find inspiration?

Traveling inspires me more than anything else. New cities, museums, architecture, and natural landscapes help me recharge and see familiar things from a fresh perspective.

My classical architectural education has also had a tremendous influence on my work. Architectural history was one of my favorite subjects. At the same time, I constantly follow the work of contemporary architects and designers around the world to stay connected with current trends and professional developments.

How do you help clients discover their personal style?

First and foremost, I try to understand the person. I want to learn about their lifestyle, habits, interests, and expectations for their future home.

I always ask clients to share images that resonate with them emotionally. Sometimes it is difficult for people to explain what they want in words, but a collection of images often communicates their preferences far better than any technical brief.

Interestingly, in recent years, more and more clients have included my own completed projects in those collections. For a designer, that is a very rewarding sign.

What do you enjoy most about your work?

I love transforming empty spaces into environments where people can truly live and feel comfortable. Every project is a unique story because every client is unique.

One of my favorite aspects is space planning. The challenge is to accommodate all of a client’s wishes while maintaining comfort, functionality, and common sense. Sometimes it feels like solving an intricate puzzle where new pieces keep appearing unexpectedly.

I almost always use floor-to-ceiling cabinetry because it creates a more cohesive and organized interior. I also enjoy designing efficient storage systems, especially in bathrooms. As for curved ceilings and elaborate wave-like constructions, I left those behind long ago. In my opinion, they belong to another era.

Do you have favorite materials?

I am particularly fond of decorative plaster. It is durable, visually striking, and works beautifully in a variety of design styles.

I also frequently use veneered and gypsum panels as accent features. And of course, I love high-quality designer wallpapers. Sometimes a single well-designed accent wall becomes the focal point of an entire interior.

What mistakes do people most often make when decorating their homes?

The most common mistake is trying to include everything at once.

Too many decorative elements, excessive color combinations, and mixing multiple styles in a single space often create visual chaos. Just like a well-tailored outfit, an interior sometimes benefits from removing a few accessories rather than adding more.

What matters most to clients today: aesthetics, technology, or sustainability?

In recent years, sustainability and natural materials have become increasingly important. People want their homes to feel calm, safe, and connected to nature.

Today, comfort means much more than simply having a beautiful interior. Material quality, atmosphere, and a sense of harmony all play an important role.

Which design trends do you believe will remain relevant, and which are fading away?

Hidden-frame doors will likely remain popular for a long time. They help visually unify a space and create clean architectural lines.

As for decorative slatted wall panels, which were once found in almost every other apartment, they are gradually fading from popularity. I believe ribbed and perforated surfaces may soon follow the same path.

What advice would you give to aspiring designers?

I believe young designers should begin their careers in a strong design or architectural studio. It is an excellent way to gain practical experience, work on large-scale projects, and learn from seasoned professionals.

Personally, that experience gave me the confidence and knowledge I needed to eventually establish my own practice.

For homeowners interested in designing their own interiors, I recommend studying as many quality projects as possible, reading professional publications, and not being afraid to draw inspiration from other designers. Today, there is an abundance of information available, making it easier than ever to discover ideas that truly suit your personality and lifestyle.

Readers interested in learning more about Elena Tsareva’s work, discussing potential projects, or exploring collaboration opportunities are welcome to contact her directly.

Website: www.ar-dis.ru

Instagram: @tsarevadesign

Elena is always open to new creative challenges and enjoys helping clients transform their ideas into thoughtfully designed and functional spaces.

How did your journey into the world of art begin?

Elizaveta: Art has been a part of my life for as long as I can remember. I was always fascinated by painting, drawing, and the ability of artists to communicate ideas through visual language. Over time, this passion evolved into a serious commitment to professional development.

My education combined several important influences. I studied in a private art studio in Saint Petersburg, continued my training at the Academy of Arts, and later attended Atelier de Arte Realista do Porto in Portugal. These experiences allowed me to explore both Russian and Western academic traditions, which continue to shape my artistic approach today.

Your work often references classical art. What draws you to this subject?

Classical art contains stories and symbols that remain relevant regardless of time. Human emotions, aspirations, fears, and conflicts have not changed as much as we sometimes think.

I am interested in exploring how these timeless themes can be translated into a contemporary context. In many ways, I see my work as a conversation between centuries. The questions that concerned artists during the Renaissance continue to resonate today, although the world around us has changed dramatically.

How would you describe the main focus of your artistic practice?

My work explores the relationship between classical art, postmodern culture, and contemporary society. I am particularly interested in archetypal narratives that have shaped world culture for centuries.

These stories provide a framework for understanding modern anxieties, social challenges, and personal experiences. Through my paintings, I seek to connect historical memory with contemporary reality.

Many art historians describe the Renaissance as a reinterpretation of Antiquity. Do you see parallels with your own work?

Absolutely. The Renaissance did not simply copy ancient culture. It reimagined classical achievements and adapted them to a new era.

I believe contemporary artists face a similar challenge today. We inherit an enormous artistic legacy, but our responsibility is not merely to preserve it. We must reinterpret it, question it, and find ways to make it meaningful for modern audiences. That process of adaptation is central to my work.

You have studied and worked in different countries. How has this international experience influenced your artistic vision?

Exposure to different artistic traditions has been incredibly valuable. Russian academic training emphasizes discipline, technical mastery, and respect for tradition. Western schools often encourage experimentation, conceptual thinking, and personal interpretation.

I feel fortunate to have experienced both approaches. Rather than choosing one over the other, I try to combine their strengths in my own artistic language.

Your works have been exhibited internationally. What has that experience been like?

It has been both exciting and humbling. Art creates connections that transcend language and geography. I have had the opportunity to present my work in Russia, the United States, and the United Kingdom, while also collaborating with collectors and art enthusiasts from different parts of the world.

Every exhibition offers a chance to engage with new audiences and discover how people from different cultural backgrounds respond to the same artistic ideas.

In 2023, you received both Silver and Bronze medals at the Art Excellence Awards. What did this recognition mean to you?

Awards are never the primary motivation for creating art, but they are meaningful because they represent recognition from professional peers and experts in the field.

Receiving Silver and Bronze medals at the Art Excellence Awards was both an honor and an encouragement. It reinforced my belief that contemporary interpretations of classical themes continue to resonate with audiences and remain relevant within today's international art community.

What inspires you today as an artist?

Curiosity. History inspires me. Literature inspires me. Museums inspire me. Contemporary society inspires me.

Most importantly, I remain fascinated by the dialogue between past and present. Every generation revisits old questions and discovers new answers. As an artist, I feel privileged to participate in that ongoing conversation through my work.

In addition to your artistic practice, you have developed your own international project, Curatone. How did the idea for it come about?

Over time, I realized that many contemporary artists lack a professional platform that combines not only exhibition opportunities but also research and critical dialogue. This inspired me to create Curatone (curatone.art), a project that today includes international online exhibitions, a professional community of artists, and the Curatone Art & Research Journal, dedicated to contemporary art, design, and visual studies. My goal was to build a space where creative projects could be more than simply displayed, becoming part of a broader professional and academic conversation.

Today, Curatone includes not only exhibitions but also its own journal. What role does this publication play in the development of the project?

The journal became a natural extension of our activities. Through Curatone Art & Research Journal, we publish research articles, visual projects, interviews, and analytical materials related to contemporary art and design. For many artists, it provides an opportunity to present their work to an international audience within a deeper intellectual context and to share the ideas behind their creative practice. I believe that today it is important not only for art to be seen, but also to be understood.

Online exhibitions have become an important part of the project. What opportunities do they provide for artists?

The online format allows us to connect artists from different countries and cultural backgrounds without geographical limitations. It gives participants the opportunity to present their work to an international audience, engage with fellow artists, and receive professional feedback. For many, these exhibitions become an important first step toward international recognition and new professional opportunities.

Through Curatone, I warmly invite artists, designers, researchers, curators, galleries, and cultural organizations from around the world to collaborate on exhibitions, publications, and research initiatives. My goal is to build an international creative community where artistic innovation, professional growth, and meaningful dialogue can inspire new ideas and lasting connections across cultures and disciplines. (https://curatone.art/about-journal)

Miami, Fl

Anastasia, how did photography become part of your life?

I often say that photography happened by accident. My first photograph was taken when I was around eight years old. It was a picture of my dog. I still keep that image and sometimes joke that it serves as my business card.

By education, I am actually a programmer. For many years I spent most of my time in front of a computer. Eventually, I felt a strong desire to communicate with people and experience life beyond a screen. Photography became the perfect way to do that.

Over time I experimented with many genres, including self-portraits, creative projects, weddings, and commercial assignments. But documentary photography ultimately became my true passion because it allows me to observe and preserve real life.

What attracts you most to documentary photography?

Truth. I love unstaged photography because it allows people to remain themselves. Documentary photography gives me access to worlds and experiences that I would never encounter in everyday life.

Every person carries a story. Sometimes these stories are dramatic, sometimes funny, sometimes deeply moving. My role is simply to be present and attentive enough to recognize them.

There is also a certain energy that exists when life unfolds naturally. When you become part of that moment instead of trying to control it, photographs emerge almost by themselves.

Many photographers carefully plan their projects. How much of your work depends on chance?

A lot more than people imagine. Some of my favorite photographs were made during situations that initially seemed like failures.

I remember traveling to Kemerovo to photograph a man who repeatedly refused to participate in a story I was working on. After a long journey, he declined again. I was frustrated, angry, and disappointed. As I was leaving the city, I made one photograph that later became one of my favorites.

Photography constantly reminds me that disappointment often leads to unexpected discoveries.

Another time, while working in Novosibirsk, I spent nearly a week waiting for a subject's consent. One evening I looked up and noticed the time on a street clock—22:22. I made a wish that something interesting would happen. Minutes later I witnessed a bizarre sequence of events involving an argument, a fight, reconciliation, and another fight. The photographs from that evening became far more valuable than the assignment I originally traveled there to complete.

You have traveled extensively. Have these journeys changed your perspective on photography?

Absolutely. Travel teaches patience and humility.

I remember traveling through Kazakhstan in search of nomadic communities. I crossed enormous distances and found almost none of what I expected. Yet those unsuccessful journeys produced photographs and experiences that became far more meaningful than the original goal.

One of my favorite images came from a broken-down car in the Kazakh steppe. The owner had reportedly acquired the vehicle in exchange for a glass of hashish. The doors barely stayed attached, the engine constantly failed, and eventually the car stopped completely.

Objectively, it was a disaster. Photographically, it was wonderful. The lesson was simple: when plans collapse, reality often offers something better.

Your work often focuses on people living in difficult circumstances. What draws you to these stories?

I am interested in human dignity.

One of the most important projects in my career involved documenting life inside neuropsychiatric institutions. Access was limited and time was always short. You entered a space, had only minutes to understand what was happening, and somehow needed to create meaningful images.

I remember a girl named Anya who could not communicate clearly through speech. Nevertheless, she insisted that I photograph her. She wanted to be seen. She wanted to be beautiful.

That moment reminded me that photography can become an act of recognition. Sometimes a portrait is not simply a picture—it is acknowledgment.

How has photography changed your life personally?

It transformed me completely. From a financial perspective, programming was undoubtedly the smarter career choice. Photography is much less predictable.

Yet photography gave me something else. It introduced me to extraordinary people. It taught me how to communicate. It brought friendships that continue to shape my life. It allowed me to travel, witness history, and experience places and events I could never have imagined.

I have stood only meters away from world leaders. I have traveled across countries chasing stories. Most importantly, I have learned to understand people better.

So while I sometimes joke that I should have remained a programmer, I have never regretted becoming a photographer.

What makes a strong photograph?

A photograph should make you feel something.

People often separate artistic photography from commercial photography, but emotion remains important in both. An image can be visually perfect and still leave the viewer indifferent.

The strongest photographs create a reaction. They provoke curiosity, empathy, joy, sadness, nostalgia, or surprise.

If a photograph leaves no emotional trace, it quickly disappears from memory.

Has your understanding of success changed over the years?

Very much. When I was younger, I believed success came from equipment, recognition, and professional achievements.

Like many photographers, I was convinced that buying a new camera would instantly improve my work and change my life. Eventually I realized that photography is much less about technology and much more about attention. The best photographs rarely happen because of the newest equipment. They happen because you are fully present.

What is the most important lesson photography has taught you?

That every person is beautiful in their own way. The longer I photograph people, the more convinced I become of this. Photography has shown me people at their strongest and most vulnerable moments. It has taught me that everyone carries dignity, complexity, and a story worth hearing.

Today, when I think about photography, I no longer think first about exhibitions, awards, or publications. I think about memory. Photography allows us to preserve people we love. It allows us to hold onto moments that would otherwise disappear forever. For me, that remains photography's greatest gift.

To explore more of Anastasia Rudenko’s work, please visit her portfolio at https://anastasiarudenko.com/work. For collaborations, publications, exhibitions, assignments, or other inquiries, you can contact the photographer directly at matildenko.photo@gmail.com.

Miami, Fl