Mosaic of Nature: In Conversation with Irina Sheynfeld.

Oil pastel visions of structure, serenity, and symbolic color.

June 19th, 2025

Artist Irina Sheynfeld

Irina Sheynfeld's work invites viewers into a vibrant visual language where nature becomes a mosaic of memory and sensation. Using oil pastels on board, Irina creates landscapes and florals through countless marks—layered dots that demonstrate rhythm and meditative clarity. Drawing from her background in illustration, Irina's art is both personal and universal, evoking a dialogue and connection with nature. The artist's work reflects a profound admiration for the natural world, conveyed through a meditative artistic process.

Irina Sheynfeld - Sail, oil pastel on board, 2024

Can you tell us about your journey into the art world? What drew you to oil pastel as a medium?

When I was four years old in Odesa, Ukraine, my parents sent me to a special experimental art school where dance, solfeggio, instrument, drawing, and painting were introduced to children. And I remember not being very good at anything there except drawing and painting, where I was a star. Only one other kid, a boy, was better than me. At the end of one of these drawing classes, my father said, 'This boy will probably become an artist, and what will you be?' To that, I immediately answered that I would be an artist too, and I never changed my mind. 

After secondary school, I studied puppetmaking at the Odesa School of Theatre Arts. After my parents and I arrived in New York City, I continued my art education at Parsons School of Design, where I earned a BFA, and later pursued my studies at SVA, earning an MFA. For over ten years, I worked as a graphic designer and illustrator for various publications, including The Wall Street Journal, Money Magazine, Oxygen Media, The New York Daily News, and American Law Media. Finally, thanks to my husband's support, I was able to quit my job as a designer and dedicate myself fully to my career as an artist. 

Could you walk us through your typical creative process, from concept to completion?

My trips often inspire my work. I am especially drawn to the mountain landscapes and views of the sea. When I travel, I take a lot of pictures with my phone, and I also make sketches on paper. Additionally, I write detailed instructions for myself about what I should do with particular scenes once I return to my studio. Often, I even make small diagrams with notes on what color should go where and what the mood and general key of the work must be. Once in my studio, I arrange all my notes, sketches, and photos around me and make more sketches, often in a series of ten. Then, I proceed to color studies. Only then, when all decisions are made, do I begin working on finished pieces. I usually create 10-15 work series, reworking each piece several times, as it is impossible to correct mistakes with oil pastels. 

Left: Spring Inspiration. Liles, oil pastel on board, 2025 / Right: Spring Inspiration. Pionies, oil pastel on board, 2025

Your use of dots and repetition creates a strong sense of rhythm and texture. Is this method intuitive or planned?

Every aspect of my work is meticulously planned. The dots and circles activate the surface of my paintings, creating a sense of vibration. My goal is for the entire work to pulsate with energy and movement. This method works if all elements, including all dots and circles, are perfectly harmonized, much like instruments in an orchestra or notes in a musical composition. If one note, one circle, or one dot is off, then the entire painting needs to be redone. 

Nature plays a central role in your work. What does nature symbolize to you personally or artistically?

During my travels, I take many photos so that I can later use them as references and inspiration for my work. I enjoy taking long walks in the mountains with my sons, friends, and myself. Recently, I survived the tragic loss of my husband. Walking in nature was something that we used to do together, and now it has become a way to remember. This past May, I went on a seven-day hut-to-hut trek with my sons in Nepal. We hiked to Annapurna Base Camp, located at 13,549 feet, and watched the sunrise that illuminated the snowy peaks of the Himalayas. 

Irina Sheynfeld - Himalayas, oil pastel on board, 2025

Irina Sheynfeld - Machhapuchhare, oil pastel on board, 2025

What do you love most about working with oil pastels on board? Are there any limitations you embrace or challenges you face?

I work in a wide variety of mediums, but recently, I have been making most of my work in oil pastel, which combines the brilliance of oils with the portability of the pastels. My art pieces are usually not very large in scale because I work in various locations and take the materials with me wherever I go.

The biggest challenge of working with oil pastels is that you can not change or rework anything. Everything has to be prepared and thought of ahead of time, so if I make a mistake, I have to redo everything from the beginning.

Are there artists or movements that have influenced your work?

Some of the contemporary artists who have influenced my work are Shara Hughes, Sally Mann, Ebony Patterson, and, of course, Mark Shagal, Sonia Delaunay, Robert Delaunay, and Claude Monet. 

Left: Thistle - oil pastel on board, 2025 / Right: Japan -oil pastel on board, 2024

What's a piece of advice you'd offer emerging artists?

For any artist, but especially those just starting out, it is essential not to get lost in someone else's vision but rather to follow your own path. It is like swimming through a dark sea underwater. You point your flashlight where you want to go, and you observe wondrous creatures on all sides, but you don't stop every time you see something bright and beautiful; you swim ahead because you are looking for something else, something yours. And you only vaguely know what that something else is. 

What's next for you— any upcoming shows, projects, or new directions?

My ongoing project is the Odesa Peace Fund that my late husband and I started when Russia attacked Ukraine in 2022. Since his passing, I have continued my work with my close friend, Tamara Gruzbarg. We provide food and hygiene items to displaced people, senior citizens, and families with many children in Odesa, and we also send medical supplies to hospitals across Ukraine. The portion of the proceeds from the sales of all my work goes to the Odesa Peace Fund. 

In terms of my creative work, I am planning to create a new series of etchings and oil pastel paintings inspired by my trip to Nepal. Several smaller works, which will serve as color studies for my future series, are already in progress. I also plan to exhibit them at the Affordable Art Fair NY this fall with Artios Gallery.