BIOGRAPHY
Che was born in 1985 in the picturesque Belarusian city of Grodno, known for its rich history and scenic views along the Neman River.
From 1993 to 1999, the artist attended Music School No. 2 in Grodno, concentrating on piano performance. Between 1993 and 2001, she studied at Intermediate School No. 15 with a specialization in the German language and later attended Polska Macierz Szkolna High School of the Polish Consulate in Grodno. From 2000 to 2002, Che studied applied arts and pedagogy at Lyceum No. 1 of Grodno.
She graduated in 2007 from Yanka Kupala State University of Grodno with a degree in visual arts. Following her academic training, Che worked as a painter, designer, and art educator, teaching visual expression to both children and adults across a wide range of techniques and approaches. She was highly recommended for membership in the Designers Union of Belarus.
After relocating to the United States in 2013, Che continued to develop her practice, fully immersing herself in abstract expressionist oil painting in 2019. In 2020, she established her independent studio practice in Coney Island, Brooklyn, where the artist explores painting as a space of tension, accumulation, and presence.
CV
2007 graduated Yanka Kupala State University of Grodno majoring in visual arts
Upon graduation came highly recommended to become a member of the Designers Union of Belarus
2021 Vernissage in the Che studio – Solo Exhibition
(2960 West 8th Street, Brooklyn, NY)
2023 RED SWA GALLERY /”Leitmotif” – Group Exhibition
(152 W 66th St., Manhattan, New York, NY 10023)
2023 GALERIA AZUR MIAMI / “𝗔𝗖𝗧 𝗩𝗜𝗜” – International Group Exhibition
(1624 NW 36th Street, Miami, 33142, USA)
2026 ArtExpo New York – Group Exhibition
(Pier 36 Manhattan)
STATEMENT
In my work, I explore the realm where the inner experience of language development can exist only as a chromatic, visual trace. Through abstract painting, I create spaces where tension, silence, and accumulation become visible.
Working primarily with oil on canvas, I use repetitive brushstrokes as a deliberate, bodily action. Each gesture registers presence, providing both an immediate and decorative solution. Paint is used not to describe form, but to record duration, pressure, and restraint.
Created in response to the oversaturated images of the contemporary world, detached from direct experience, these works function more as thresholds than as narratives. The viewer is not directed toward a signal; they must remain in place. Meaning does not appear instantaneously—it accumulates through time and attention. The result is not an image to be consumed, but a presence to be encountered.
