Natalie Karpushenko is a fine art photographer from Kazakhstan. Her art often explores themes of emotion, identity, and the human experience, capturing both the fragility and strength inherent in her subjects. Her work reflects a nuanced understanding of color, texture, and form, with a focus on pushing boundaries and challenging traditional artistic conventions. The Art Collector asked Karpushenko about her journey to date.
Can you tell us a bit about your background? Where did you study fine art and design, and at what point did you realize you wanted to become a photographer?
I started studying art at the age of nine and attended art school for five years. But even before that, from the age of three, drawing was my biggest passion. As a child, I preferred to be left alone, quietly creating stories through my drawings. I wasn’t just drawing individual pictures—I would create entire books, illustrating stories about the people they met, guides, love stories, and dramatic narratives. It was always a part of me.
At 18, I went on to study Interior Design at a university in Kazakhstan for five years. However, I never worked as an interior designer because, by the time I was 18 or 19, I was already working in a photography studio, and things started developing quickly from there. I never really had the chance to pursue interior design professionally, although I still find it interesting. Now, I sell prints, which allows me to combine my artistic vision with interior aesthetics by helping clients choose prints for their spaces. I think I always knew I wanted to be a photographer, a storyteller, or an artist in some form. I’ve always loved both video and photography, so there was never really a question about it for me.
How do you get inspiration for a new series?
Nature is my biggest source of inspiration, especially animals and water. About five years ago, I made a conscious decision to focus on two main elements in my photography and art—either animals or water, or sometimes both together, like a woman diving with whales. These elements evoke a sense of connection, freedom, and harmony that I strive to capture in my work.
Your art focuses on the female figure—often set against epic landscapes. Would you consider using men as models in your art, or is this a deliberate statement?
I do use male models from time to time. For example, in my Waterfall series, Jumping People in Water, and the Angel series, there are male figures, including a male angel. However, it’s true that I focus more on the female form. I think it’s partly because I am a woman myself, and we still live in a world that is largely male-dominated. I love supporting and celebrating women through my work.
You champion sustainability issues in your work. The art market is primarily dominated and driven by commercial interests. Is this a case of educating the public? To what extent do you believe art can act as a catalyst for change?
I chose to focus on sustainability after traveling extensively and witnessing the shocking amount of plastic pollution in the ocean. I wanted to do something about it.
But as we know, we are already surrounded by destruction—every day, we see bad news, war, and tragedy. People have become desensitized to the ugliness. That’s when I had the idea for a project where I depicted women with plastic in a way that was aesthetically beautiful, almost like Renaissance paintings. But alongside the images, I included descriptions about reducing plastic use in daily life—why a single-use cup is harmful, for example.
I had a large exhibition in Korea focused on underwater and ecological themes, and it was incredibly fulfilling to see people deeply moved by it. Some visitors even came to me in tears, saying the work had touched them. Since then, I’ve always looked for ways to address important issues, but in a way that is visually captivating rather than confrontational.
Is there a particular artwork of yours that is your favorite? If so, why?
That’s a difficult question, but one of my favorite works is « Rebirth of Woman ». It was created in 2020 during a very unstable period in my life—I had been robbed, lost all my equipment, and suddenly had to produce an exhibition in just two weeks. I shot every day without my own camera, borrowing equipment as I went. That experience showed me that anything is possible, and that there are always people willing to support you. It reinforced my belief that creativity isn’t about the tools—it’s about the vision. Even without a camera, even without equipment, it’s possible to create. The most important thing is imagination.
Do you have plans to exhibit in any galleries or fairs?
To be honest, I don’t actively seek out exhibitions myself. All the exhibitions I’ve had so far have come from invitations, with someone else organizing them. I focus primarily on creating my work, and if a gallery or fair expresses interest in showcasing it, I’m always happy to participate. Most likely, there will be a small exhibition in Switzerland this spring, and possibly something in Italy, but I’m not entirely sure yet.
What advice would you give to an emerging photographer?
As I mentioned earlier, some of my favorite works were created when I had no equipment at all. My advice would be: don’t focus too much on cameras, lenses, or technical aspects. The idea is the most important thing. Develop your vision, create something meaningful to you, and don’t worry about what others are doing. Do what excites you. If you are truly passionate about your work, others will connect with it too.
