So, what is one of the things I actually learned when it comes to selling art online?

It is context, history, identity, longing, and tension.

The best protection is not reaction, but prevention. Conservation is the most careful brushstroke, keeping a work alive long after the final layer of paint has dried. It is a continuation of the creative process.

I didn’t grow up in a gallery. I grew up in rural Ukraine, with more potatoes than possibilities. As I grew older and moved continents, I came how deeply that system had shaped me. Not only in how I make art, but in how I understand freedom. This methodical training gave me a foundation, but also a tension I’ve carried ever since: between order and imagination, obedience and self-expression.

Before it’s in Vogue, it’s months of creation.
You see the result. Not the ritual.
From countless hours to timeless presence.

Born and raised in rural Ukraine in the 1980s, my childhood art education was a daily, disciplined choreography of obedience. It was a tool for shaping collective identity.  I had no living artist as an example. A daily routine shaped by ideology rather than self-expression, a training designed to mold, not to question.

Eva, one of my first international long-time collectors, never hesitated in how she described what it feels like to live with one of my paintings. For her, the defining quality has always been its presence. She describes an integrity that is not dependent on time or circumstance, a steadiness that remains the same yesterday, today, and tomorrow.

anastasia benko x DIE ZEIT

anastasia benko x DIE ZEIT

anastasia benko x DIE ZEIT - sorbet deconstructed 2019-2022

anastasia benko, sorbet series, acrylic on canvas

photo in the home of Dawid, Munich