Amsterdam · NL Contemporary Artist Index — 2022 / ongoing

Natallia Paliashuk

Works on imprint, erosion, system, and field notes — material records of identity, surveillance, and the thresholds at which a surface surrenders.

I · The Work ↓

§ Biography

A practice in imprint, erosion, and system.

Portrait Amsterdam, 2025

Natallia Paliashuk is a contemporary artist working in mixed media, painting, and textile. Her practice treats the surface — skin, fabric, canvas, the urban street — as a record that keeps receiving what the world presses into it.

Four lines of enquiry organise the work. Imprint: what remains when identity is stamped, documented, or absorbed. Erosion: the moment a structure admits it cannot contain the pressure any longer. System: the grids, norms, and measurements that watch the body and decide what is legible. Field Notes: the open chapter — what is being gathered now, before it has settled into a form.

Trained at HKU Utrecht, Gerrit Rietveld Academie, and Breitner Academie, she works between Eastern European and Dutch frames of reference — an interest less in reconciliation than in the residue produced when the two are held together.

Based in: Amsterdam, NL
Trained: HKU Utrecht · Gerrit Rietveld Academie · Breitner Academie
Medium: Mixed media, painting, textile
Recent series: Inner Waters · Urban Osmosis · New Norms

The Work — Index

Chapter I

Imprint.

The surface as a record — skin, documents, urban wall — retaining every stamp, every pressure, every inherited pattern. What belongs to the self after the system has marked it?

Female silhouette with street textures integrated, vertical format

Imprint — fig. 01

Fig. 01

Urban Osmosis: Study I

2024–25

Female silhouette with street textures integrated, horizontal format

Imprint — fig. 02

Fig. 02

Urban Osmosis: Study III

2024–25

Figure with domestic patterns and textures integrated

Imprint — fig. 03

Fig. 03

Domestic Imprint

2024

Figure marked with stamps and official documents

Imprint — fig. 04

Fig. 04

Stamp of Nationality

2023

Projected official stamps cast over bare skin

Imprint — fig. 05

Fig. 05

Stamp of Nationality II

2023

Chapter II

Erosion.

The threshold at which a held thing stops holding. Inner waters rising, the first fissure radiating outward — documents of the moment structural integrity surrenders to accumulated pressure.

Figure submerged in water, exploring themes of vulnerability

Erosion — fig. 06

Fig. 06

Vulnerability

2025

Figure reaching beyond water surface, exploring transcendence

Erosion — fig. 07

Fig. 07

Beyond

2025

Abstract representation of thoughts dispersing like wind

Erosion — fig. 08

Fig. 08

Winds of Thought

2024

Deliberate fractures and cracks forming compositional elements

Erosion — fig. 09

Fig. 09

Controlled Fracture

2024

Vivid striped abstract composition expressing psychological tension

Erosion — fig. 10

Fig. 10

Structural Containment

2024

Circular cracked silver-grey textured canvas with centripetal fissures

Erosion — fig. 11

Fig. 11

Yield Point

2024

Chapter III

System.

The grid that watches. New norms, thermometry, aerial traces — the instruments by which a body is measured, mapped, and declared legible. Fabric, ink, and embroidery hold the residue of the reading.

Contemporary iconography exploring new cultural symbols

System — fig. 12

Fig. 12

Icon

2022

Figure with temperature measurement motifs, exploring bodily surveillance

System — fig. 13

Fig. 13

Thermometry

2022

Aerial view rendered on fabric with red embroidered accents

System — fig. 14

Fig. 14

Trace — aerial

2022

Street-level scene with hands printed on fabric and embroidered detail

System — fig. 15

Fig. 15

Trace — street

2022

Chapter IV · 2026 — ongoing

Field Notes.

An open chapter, kept in the present tense. Rubbings, off-cuts, photographs of a wall that will be repainted by spring — material collected before it is decided what any of it belongs to.

Works from this chapter are still in the studio.

§ Process

The work is built slowly, in layers.

Each piece begins as an empty surface and accumulates — pigment pressed in, found textures lifted from the street, fabric stitched and re-stitched. The process is durational by design. It records the time spent with the material as much as the image that emerges.

Nothing is resolved in a single sitting. Layers are left to dry, reconsidered, sanded back; what survives that waiting is what stays in the finished work.

Plate I · Studio, Amsterdam

Inquiries

Original works & commissions by correspondence.

Each piece is one-of-a-kind. For availability, pricing, shipping, and commissions — including questions about specific works in the index — write directly.

Shop & Acquisitions [email protected] Studio & Commissions [email protected]