Black Sketchnote

Interview with Kolya Nemoi

Getting inside the world of this young artist, with a background rooted in skateboarding, street art, and personal memories. This interview reveals how his early explorations of oil painting, tattooing, and fashion were shaped by unconventional influences: from meditative painting sessions in a cemetery-facing studio to crafting his first tattoo designs for friends.Deeply inspired by human emotions and subconscious struggles, his art often reflects a mix of dark, introspective themes through surreal, almost primitive characters. With an eye for the mysterious and a preference for depth over visual precision, he invites viewers to get in the deep of things.

You’re a very young artist, with a career that started at 16. Tell us about how you were before and after the beginning of this journey: do you see yourself as different? Do you think that over the years, this world and this scene have unconsciously shaped you? If so, how?

At 16, I had my first encounter with painting. I found a flyer for oil painting courses near an abandoned parking lot, where I had been drawing on the walls. These workshops felt more like a scene from Twin Peaks than actual painting lessons. The instructor was a gentle man with long hair tied in a bun, and the students were all women-most of whom were pregnant. I soon realized it was a form of meditation for them, a way to calm their souls. The windows of the building overlooked a cemetery, which only added to the surreal atmosphere. That’s where I created my first series of paintings and learned the basics of oil painting.
Before 16, I was a troubled kid, skateboarding and tagging walls. And if we go back even further, I was obsessed with horror movies and CD album cover designs, which I often redrew. Strangely enough, my lowest grade in elementary school was in art class because my teacher thought the trees I drew looked like penises. I confidently told her, “That’s how I see them.” Over time, awareness grows. For me, art is like a language I’m learning. The difference between the “before” and “after” me lies in the experiences and knowledge l’ve gained. Everything holds meaning. And once you understand the meaning, respect follows. I see myself as a continuation of what came before, so I believe it’s important to respect what was created before me. As a teenager, that way of thinking was foreign to me. Yes, I’m very impressionable, and this scene has undoubtedly shaped me. I didn’t resist it. People are what ignite the fire in me; people are what change me, frighten me, and make me fall in love.

Do you remember the first piece of art you created that had a significant meaning for you? What was it? And how have your themes and sources of inspiration evolved since then?

I remember this piece very well. On the eve of my departure, I went to a frame shop to have the drawing framed. It was a portrait of someone very dear to me–my grandfather. We shared much more than just the same name; his dream was to become an artist, but at that time and place, such a profession didn’t exist. I continued on the path he couldn’t take. His death pushed me to make an important decision: to move and pursue an art education in Switzerland. The portrait was drawn in 2007 in Kherson. While it was quite naive in execution, it strongly captured both the character and likeness of my grandfather. From that day on, he kept the drawing by his bedside. The human figure and the image of a person have always been key themes in my artistic practice. I’m not so focused on the visual aspects; what interests me more is depth. I want to step into the body of the person I’m portraying, to live a day in their lite, to feel their joy or anxiety. People are beautiful and mysterious, and I can only observe and imagine what they’re truly like.

“I’m not so focused on the visual aspects; what interests me more is depth”

Your works seem to be the visual manifestation of inner anxieties in the form of strange characters, a kind of visual concretisation of certain disturbances. Is your gaze more external, focusing on human turmoil, or more internal, directed towards your own subconscious?

As long as I can remember, I have always struggled with anxiety. Right now, I spend a lot of time alone with myself. My canvases have become a battleground where I confront my feelings. More often than not, this state leads me to cover the entire canvas and start over. That’s why I’ve created a ritual to help me get into the right mindset while working; I no longer paint when I’m feeling anxious. The series of works titled “Subject” features images reminiscent of mummies wrapped in fabric. This fabric obscures their forms, making them invisible-just as we cannot see the feelings and emotions trapped inside. Only small details can hint at what lies within. There may be emptiness or a storm inside, but neither you nor I will ever truly know. Similarly, the series titled “Masks” does not reveal the veil of mystery. I want to allow the viewer to use their imagination to envision what is hidden beneath this fabric and the layers of paint. Like a character who does not reveal their true form, or an unwrapped gift that tempts with its shiny packaging, seducing only with its silhouette. My works are the complete opposite of concretisation; they focus more on the visible and the invisible. Today’s isolation directs my gaze primarily inward, to my subconscious. However, I don’t want to cut myself off from external factors; I am open to them and very glad to have them in my life.

Your artistic identity is highly multifaceted: drawing, sketchbooks, tattoos, fashion… On your Instagram profile, it’s possible to see a clear separation of these expressions. This thematic division, possibly born out of practical necessity, does it also exist from a stylistic and artistic perspective? Are these separate parts of your personality, or is everything connected?

Creativity is born from something small. In my case, it has always been sketchbooks. They have been a place where all these branches were stored. I never liked the “tattoo flash” format in tattooing; I always gave my clients my sketchbooks to choose a design from. It was amazing because sometimes they chose sketches of paintings or draft prints that I wanted to use for clothing. Many people noted that they had never encountered such formats before. Thus, all these branches intertwined, forming their own universe. My mom and aunt started selling the first fashion clothing in Ukraine, so after kindergarten, my dad would take me to their store, where I spent a lot of time. I was literally surrounded by mannequins and clothes, which definitely influenced my attitude towards fashion. At 16, I learned what screen printing was, and that same year I printed my first t-shirts. While skipping school that same year, I worked in my first studio. A friend of mine, who knew that I painted and was aware of my sketchbooks, called me and said he wanted to come and get a tattoo from me. He brought all the equipment and showed me how everything worked. After that, he came back, and we did more tattoos. He showed off these tattoos and brought me my first clients. Later, I went to a skate spot and tattooed right there using the handpoke technique. This is how I realised I could earn my first money, which I used to buy paints and canvases. In this way, I created a whole system that allowed me to continue pursuing art.

“My works are the complete opposite of concretisation; they focus more on the visible and the invisible”

Your approach to street art diverges from the common standard: you bring to life dark and macabre characters, almost primitive forms, far removed from the usual wall graffiti. Have you always had a clear sense of your style? What criticism do you have of standard graffiti? What would you like to see done differently? Are there any street artists you admire or who inspire you?

For me, it was more about wall painting-huge concrete canvases with beautiful textures and memories. Sometimes when we were painting, it felt more like a sabbath or some kind of ritual. It went so far that I almost had my finger amputated due to frostbite. This period was very foggy and dark for me, so my style developed in a chaotic and unconscious way. I always depicted characters that I felt conveyed my youthful defiance. I wasn’t interested in my nickname; I wanted to be recognised by my imagery. I don’t consider myself a graffiti artist, sol wouldn’t want to criticise anyone; we just see things differently, that’s all. On the walls, I would prefer to see anonymous messages, like cries of the soul or ironic phrases describing the surrounding area. Among street artists, I would highlight Oleg Mitasov and Krestovik from Odessa. I also recently discovered the murals of Philip Guston.

Off the top of your head, if I ask you who your favourite artist, book, film, and song are, what would you say? And on the other hand, what’s a major “unpopular opinion” you have about today’s art, culture, or fashion scene?

Artist – Francis Bacon.
Book – “No Text” by Steven Parrino.
Film – “Scorpio Rising” by Kenneth Anger.
Song – “My Girl Hates My Heroin” by The Stooges.

To be honest, I miss martyrs, but perhaps the time of martyrs has passed. Sometimes it’s hard to understand who is who in such abundance. I would also like to see the boundaries between art, culture, and fashion collapse, and for conservatism to become obsolete. We need to realise that nothing primordial exists anymore; everything is a combination and blend.

What are you currently working on? And what is the ultimate goal of your career, the biggest milestone you’d like to achieve?

Right now, I am working on my first solo exhibition at Plymouth Rock and creating new sculptures titled “Shelter,” dedicated to teenagers affected by war, along with ongoing oil paintings and graphics. Additionally, my partner Vlad Bobr and I are launching a project called “FUG,” which serves as an experimental design and solutions studio, where we help clients create identities and produce samples or product runs for their projects. Ultimately, I aspire to collaborate with galleries and brands, and I would be thrilled to meet Iggy Pop. I try not to over-plan, as life is full of surprises. At this moment, I just want my family to be close.

Black Sketchnote

Credits:

Artist: Kolya Nemoi / @kolyanemoi
Photos by : Marvin Merkel / @marvmerkel
Visvaldas Morkevicius / @visvaldasmorkevicius
Interview: Annalisa Fabbrucci / @annalisa_fabbrucci
Editor: Maria Abramenko  / @mariabramenko

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