Angelina Malygina

Angelina Malygina grew up surrounded by books and a handful of paintings, though artistic encouragement was quiet rather than affirming. Drawing was never discouraged, but neither was it actively supported, which meant her relationship to art developed largely on its own. Early inspiration came from comic books, which sparked her desire to draw and introduced her to visual storytelling at a young age.

A formative moment arrived when she became captivated by a Gorillaz music video and began copying the characters. That experience led her toward animation and helped solidify drawing as more than a casual interest. Years later, discovering The Art of Urban Sketching: Drawing On Location Around the World by Gabriel Campanario became another turning point. Through it, she fell in love with watercolor sketching and began teaching herself the medium in earnest.

Malygina’s formal training includes short courses in academic drawing and a year and a half studying drawing for animation. While limited in duration, this education strengthened her understanding of light, shadow, form, composition, and perspective. She regards that foundation as essential, even while recognizing that much of her development came through independent study, observation, and learning from other artists. For her, artistic growth is largely self-directed, shaped by persistence rather than instruction alone.

Her work centers on landscapes and cityscapes, drawn from direct observation. She is particularly interested in everyday environments, streets, houses, and neighborhoods that are often overlooked. Drawing what is close at hand allows her to notice texture, light, and small shifts in atmosphere. Through this process, beauty becomes less about grandeur and more about attentiveness. A narrow street, a worn façade, or sunlight filtering through foliage can hold as much visual interest as a famous landmark.

One significant influence on her work has been Shari Blaukopf, whose courses shaped Malygina’s approach to watercolor, color mixing, and ink drawing. Observing Blaukopf’s process provided a framework for her own practice, and many of the technical fundamentals she relies on come directly from that influence.

Malygina approaches drawing with intention and care. She prefers uninterrupted time without upcoming obligations, allowing herself to fully settle into the act of drawing. Music often accompanies her process, helping her relax and maintain focus. Inspiration comes from attentive walking and observing her surroundings, particularly architecture and places marked by lived history. One such example is her drawing The Old House in Yerevan, based on a real building in a poor district where she once lived. Though the area was difficult, the house carried a sense of history and quiet beauty that she wanted to preserve through drawing.

Creative blocks are challenging for her, especially during periods of personal hardship. When motivation falters, she simplifies, choosing easier subjects or experimenting with different materials. Revisiting her own past work can also restore confidence, reminding her of growth and the pleasure found in earlier processes. At times, seeing other artists’ work can inspire, though she remains cautious when comparison becomes discouraging.

Malygina does not frame her work around a fixed message, but a guiding belief emerges naturally: that life holds beauty even when circumstances are difficult or unpolished. Success, for her, is measured through connection. When someone chooses to frame her work or keep it close, that signals meaning. Larger recognition may follow, but it is not the primary goal.

Living through immigration and economic hardship has made balance difficult, limiting the time and energy she can devote to drawing. Still, she continues to return to nature and architecture as sources of renewal. Walking among trees or studying buildings helps restore perspective.

To emerging artists, Malygina offers direct advice: rely on yourself. Support may not come from others, but consistency, experimentation, and care for one’s creative life matter more. Art, in her view, is rooted in love rather than recognition, and protecting that impulse is essential to sustaining a practice over time.