Olena Prykhodko: How an Artist Becomes a Designer, and Interior Design Becomes a Form of Personal Expression

In the world of interior design, there’s a renewed appreciation for craftsmanship, rich textures, and artistic expressiveness: mosaic is experiencing a true renaissance. Once again, it’s becoming a symbol of high artistry and mastery embodied in space, turning interiors into poetic expressions.

In this context, Olena Prykhodko’s work is especially compelling. With her academic background in fine art, expertise in digital techniques, and international professional experience, she creates interiors as intricate art objects.

The contemporary architectural world is increasingly looking for a new generation of designers – not just those fluent in software and trends, but those who feel form, think spatially, and design emotionally. That’s exactly how Olena works. She is the founder of Kebeta Design studios in the U.S. and Ukraine, a member of ASID (American Society of Interior Designers), participant in the “Interior of the Year” competition, regular attendee of Salone del Mobile Milano, a jury member of the American Business Expo, and author of academic publications in art and design.

She began her career as an artist, going through classical academic training in drawing and painting before earning a degree in interior design. This fusion of backgrounds has given her a unique visual language – a recognizable style in which the interior is not just a backdrop, but an artistic statement.

Olena, you started out as an artist. That clearly comes through in your interiors – they feel very visual and expressive. What do you attribute that to?  

To the power of observation. Art education teaches you how to see – not just technically, but as a way of thinking. We studied proportion, light, composition – all of that directly applies to interior design. A space is a canvas too, just a three-dimensional one. When you’re trained to think in layers, like in painting, you place accents differently, you feel balance – it’s incredibly helpful.

My art education became the foundation of my design work. It taught me to see harmony in the combination of colors, textures, and shapes – and that’s the key to creating a meaningful space. An artist doesn’t just think about beauty, but also the meaning behind the image. I take the same approach in interiors: every element must be in its place and contribute to the overall mood. Thanks to my artistic background, my projects are rich in metaphor and emotion – they’re not just functional spaces, they’re stories you can “read” with your eyes.

Your background includes not only design but also digital illustration. Are you still active in that field?  

Yes, I still draw regularly – sometimes for a specific project, sometimes just to clear my mind. I use Procreate, graphic tablets, and even neural networks as a source of inspiration. It brings me back to the tactile, handmade aspect of art and keeps me connected to creativity. It’s also part of my visual archive – sometimes an idea is born in a sketch and later becomes the core of a design concept.

Art has always been my passion – and it still is. Not long ago, I received a commission to create digital illustrations for a children’s book – it turned out to be an incredibly rewarding experience. The project was so successful that after the first book, I was commissioned to illustrate nine more titles, which I’m thrilled about. I also continue to paint in oils on canvas. Many of these paintings are integrated into my interiors – each piece is one of a kind, I never repeat them. That gives the space a unique character and value. In the near future, I’m planning to exhibit some of these works at a gallery in the U.S. I believe it will be a significant project that unites my roles as both designer and artist.

There’s a lot of talk now about “hybrid” professionals. You seem to be a perfect example. Was that a conscious decision?  

It was more organic than planned. I don’t separate being an artist from being a designer – for me, it’s one whole. Even in consultations or when working with clients, I try to speak not just about materials and deadlines, but about the meaning behind our choices. A good interior always has a concept – and if you can express that idea in multiple “languages” – visual, architectural, technological – the result becomes much stronger.

Yes, I intentionally work on being a hybrid specialist. I follow all the latest developments in artificial intelligence and use them in my daily workflow. I also adopt the newest software and digital tools for interior design. But at the same time, I strongly believe that craftsmanship and creativity cannot be automated. A painting created by an artist’s hand or a book written by a human author will always have more value than something made by a machine. For me, AI is a tool – a helpful assistant that can take over repetitive tasks and free up time for what really matters: creative development, imagination, and artistry. The balance between technology and creativity – that’s what makes a modern designer truly powerful.

You also teach and share your knowledge. What do beginners ask most often?  

The most common question is: “How do I find my style?” And I always say – first, you need to build your visual base. Look at art, architecture, graphic design, cinema. Analyze it, draw, experiment. Style is not something you invent overnight – it grows out of your tastes, experiences, even your mistakes. The second important thing is: don’t be afraid to learn from technology. AI and digital tools are not the enemy – they’re your allies.

I offer one-on-one mentorships, and most of the time people want help integrating AI into their interior design practice. Many beginners fear that AI will “steal” their profession and devalue years of education. But I always say: AI is not the enemy – it’s a magic wand in the hands of an experienced designer. It helps you achieve results faster and more efficiently, but creativity and artistic vision will always remain human. Those who learn to use these tools will be ahead of the curve.

What would you say is the core of your professional philosophy?  

To create spaces where people feel truly themselves. It sounds simple, but in practice, it requires deep sensitivity. You need to listen, not impose. I call it “emotional architecture” – when you design an interior that speaks the client’s language, but with your accent. That’s when it works – not just visually, but on a sensory level.

For me, the most important thing is harmony. Harmony between aesthetics and functionality, between technology and craftsmanship, between the space and the person living in it. I strive to create environments that are intuitively comfortable and emotionally rich. The interior should not only be beautiful, but reflect the personality of its owner, support their lifestyle, and inspire them.

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