OLGA DUKOWSKI

ARTIST BIO

Olga is a Claiming Artist who channels paintings for women at life’s turning points.
Her work - featuring big cats, ancient symbols, and modern folk imagery -serves as threshold objects: physical markers for the moments when women step into their next lives. Divorce. A first home alone. The breaking of generational patterns. The quiet, fierce act of finally claiming what was always theirs.
The paintings arrive through a channeling process refined over years of creative practice. Olga approaches the canvas without predetermined outcome, allowing imagery to surface from somewhere deeper than intention. Big cats emerge as symbols of authority, autonomy, self-nurturing. Ancient markings ground the work in collective memory. Folk elements make the sacred domestic, ready to live alongside the women who claim them.

Her artistic evolution wasn’t about developing new technique, it was about uncovering what was always present beneath learned approaches. The work that emerges now carries the confidence of that discovery: paintings that know what they are and who they’re for.

Olga offers finished original paintings and archival prints for collectors who recognize themselves in existing work, as well as channeled commissions for women who want a painting created specifically for their threshold moment. Her collectors span women in their thirties through sixties, united not by demographic but by timing, each standing at an edge, ready to mark their crossing with something permanent and powerful.

Her work has found homes across the country, living on walls where women see it daily and remember what they chose. Each painting serves as both art object and witness, holding space for transformation long after the moment of claiming has passed.

Olga works from her studio, creating for women who are done waiting and ready to own what comes next.


ARTIST STATEMENT

I channel paintings for women claiming their next life.
The work arrives through me, big cats emerging from ancient symbols, modern folk imagery carrying old power into present moments. I don’t decide what appears on the canvas. I show up, I listen, and I let something larger move through my hands.

These paintings are threshold objects. They mark the moment a woman steps across—into divorce papers signed, into a house finally her own, into the breaking of a cycle she swore would end with her. The work finds its way to women standing at edges, ready to leap.

Big cats appear again and again because they carry what these women are claiming: authority over their own territory, wholeness that doesn’t apologize, power that moves through the world without permission. The ancient symbols root the work in something older than any single story. The modern folk elements make it livable, touchable, ready to hang on a wall where a woman will see it every morning and remember what she chose.

The channeling isn’t mystical performance. It’s the discipline of getting out of the way.
When a painting leaves my studio, it goes to live with its person. Not as decoration. As witness. As the physical object that says: this is when everything changed.

I create finished works that find their collectors and channeled commissions for women who know exactly what threshold they’re crossing. Either way, the painting knows who it belongs to before I do.
This is how I serve. This is what moves through me. This is the work.