Nataliya Hines is a painter, printmaker, and digital artist based in the New York Metro area. After concluding her interdisciplinary studies in printmaking and art history at SUNY Purchase and the Institut d’Études Supérieures des Arts, Hines began her artistic practice in the Bedford Park neighborhood of the Bronx in 2017.
While at Purchase, Hines began exploring how the presentation of history influences its interpretation, using this approach to construct allegories. As her medium progressed from printmaking to painting, she continued to develop this narrative focus, particularly on themes of symbolic femininity. Drawing from her background in art history, her painting style incorporates elements of academic portraiture and religious iconography, both in technique and motif. Over time, she expanded her work to include the enchantment and terror found in the folkloric traditions of Eastern Europe, Scandinavia, and the British Isles. In her most recent work, Hines applies this visual language to investigate the intersection of art, technology, and the evolution of meaning, particularly in relation to the philosophical implications of machine learning and humanity’s place alongside it.
Early in her career, Hines exhibited primarily in New York City, including two solo shows at Space776 Gallery. Her work was also shown internationally in Germany and the Netherlands in 2023 and 2024. In 2022, she became a represented artist at BAU Gallery in Beacon, NY, where she has held solo shows in 2023 and 2024, and served on the board as the organization’s finance officer starting in early 2023.
Hines is currently based in Connecticut, where she maintains her studio practice. In addition to her painting, she works as a freelance artist and designer, specializing in both traditional and digital media. A significant portion of this work has involved providing cover design and visual concept services for musicians and composers, including Haralabos [Harry] Stafylakis’s JUNO-nominated debut album Calibrating Friction in 2023.
Photo by Adam Pietrykowski
