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In the course of her artistic career, Sochynsky has gradually progressed from hyperrealism to abstraction. Currently, during the pandemic, she concentrates on pieces of a more intimate scale, a new series of unique works on paper titled 'Etudes,' exploring the range of options offered by gouache, a new medium for her.. This series evolved from an earlier series of circle-shaped paintings, 'Fugues' (2016-2018), likewise marked by the dynamism of the color palette, while also referencing her earlier series of large-scale shaped canvases, 'Capriccios' (2006-2007.)

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Spanning a career of over forty years, Sochynsky has exhibited widely in the U.S. and abroad. She had a solo retrospective exhibit at the Ukrainian Museum, NYC in 2012. Recent exhibits include 'Viewpoints' at Windham Fine Arts, NY, 'Flying Colors' at Zorya Fine Arts, CT, and 'Fugues: A Solo exhibit by Ilona Sochynsky' at Kaaterskill Fine Arts Gallery, NY.

A graduate of the Rhode Island School of Design and MFA from Yale, School of Art, Sochynsky has been exhibiting her works in a multiplicity of media since the early 1980's in New York, New Jersey, Connecticut, Delaware, Chicago, Washington, D.C., Maryland and Rhode Island. She successfully ran a graphic design firm, Ilona Sochynsky Associates until 1979, at which time she decided to devote energies to painting full time. Her initial paintings of this period address the concerns of Pop Art and Photorealism, particularly the work of James Rosenquist. By the mid-1980s, she shifted towards more internalized personal concerns integrating relationships, pop culture, into images with psychological and emotional intensity. In the 1990s, she turned towards formalism, exploring color and design elements, often in works made up of small-scale canvases. These interests became manifest in large-scale, shaped canvases (2006-2007) where she focused on defining and redefining the outer edges of the canvas.  For commissions and inquiries please email

Selected Exhibitions






2023   Ode to a Butterfly: Ukrainian Institute of America, NYC 

2022   Leading Ladies: Phoenix Crowne media installation, Personal Structures exhibition, Palazzo

              Bembo, Venice Biennale


2021  Etudes, Fugues and Impromptus: Ukrainian Institute of America, NYC (solo)

2021  Summer Colors: Windham Fine Arts Gallery, Windham, NY


2020   Acceptance to the 2022 Venice Biennale


2019   Abstracts on Paper: Windham Fine Arts Gallery, NY


2017    Viewpoints: Ilona Sochynsky: Gallery on Main, Windham, NY


2017    Flying Colors: Zorya Fine Art, Greenwich, CT


2016    Fugues: A Solo Exhibit by Ilona Sochynsky, Kaaterskill Fine Arts & Craft Gallery, NY


2016   The Ukrainian Diaspora: Women Artists, 1908 – 2015, The Ukrainian Museum, NY      


2015   Back to the USSR?: Zorya Fine Art, Art Basel, Miami Beach, FL


2014    A Collection Revisited: Paintings and Sculptures from the Museum’s permanent collection,

The Ukrainian Museum, NY


2012    A Singular Vision: Ilona Sochynsky, Retrospective of Painting, The Ukrainian Museum, NY, (solo) 

Curated by Dr. Jaroslaw Leshko


2011  Signature Art Exhibition, The Noyes Museum, NJ


2010    NEXT 2010 Artfair, Chicago


2009    Ilona Sochysky: Fragments, Fetishes, Capriccios, Ukrainian Institute of America, NYC (solo)

Fine Art / Folk Art: A Dialogue, The Ukrainian Museum, NY


2008    Ilona Sochynsky: Abstract Intrigue, The Noyes Museum of Art, NJ (solo)

Curated by Dorrie Papademetrion, Exhibition Manager, The Noyes Museum of Art


2008    A Collection Revealed: The Ukrainian Museum at 30 – Paintings and Sculptures, The Ukrainian                   Museum, NY


2007    Color Variations, Gallery 10, LTD, Washington, DC


2006    Different Ways of Seeing: The Expanding World of Abstraction, The Noyes Museum of Art, NJ

Curated by A.M. Weaver, Curator of Exhibitions and Collections, The Noyes Museum of Art


2005    Convergence: Paintings by Bohdan Osyczka Marko Shuhan Ilona Sochynsky, Zorya Fine Art, CT  

Exhibition Curated by Jeffrey Wechsler, Senior Curator Zimmerli Art Museum, Rutgers University

Landscape: 4 Artist’s Views, Artspace 129 Gallery, Montclair, NJ


2004    Seaside Dreams: Atlantic City Celebrates 150 Years, The Noyes Museum of Art, NJ

              An Artist’s Perspective, East End Gallery, Margate, NJ

2003    Reflections and Permutations, Ukrainian Institute of America,  NYC (solo)

Recent Acquisitions, The Noyes Museum of Art, NJ 


2002    Lois Richards Galleries, Greenwich, CT


2001    A Portrait of Two Communities: A Photographic Essay, The Noyes Museum, NJ (solo)


2000    Gallery of the UECC, Jenkintown, PA (solo)  


1999    Women Artists of Atlantic County, Garden Pier, Atlantic City, NJ

Art At The Institute 1991-1996, Ukrainian Institute of America, NYC

Poetry: Installations and Performances Yara Arts Group, NYC 


1998    Fall Invitational Art Exhibition, Ocean City Arts Center, Ocean City, NJ

Faculty Exhibition, Stockton College Art Gallery, Pomona, NJ


1997    Women and Abstraction Atlantic Community College Art Gallery, Mays Landing, NJ


1996    Journey Into Abstraction: A Retrospective, Atlantic Community College Art Gallery, Mays        

Landing, NJ (solo)

Women Artists of Atlantic County, Garden Pier, Atlantic City, NJ


1995    Back Porch Cafe, Rehoboth Beach, DE (solo)

              The Gallery at the Taj, Atlantic City, NJ


1994    Ocean City Art Center, Ocean City, NJ (solo)


1992    Back Porch Cafe, Rehoboth Beach, DE (solo)


1991    Ukrainian Institute of America, NYC (solo)

TWG Gallery, Washington, DC (solo)

Bienale-Renewal, State Museum of Lviv, Lviv, Ukraine

Shades of Pastels, Maryland Pastel Society, Baltimore, MD


1990    Styria Galleries Inc., Soho and Locust Valley, NY


1989    Back Porch Cafe, Rehoboth Beach, DE (solo)


1988    Ukrainian Institute of Modern Art, Chicago, IL (solo)


1986    The Emerging Collector Gallery, NYC

Real Surreal, Olympia & York - Park Ave Atrium, New York, NYC


1985    Barbara Walter Gallery, NYC

New York City Partnership, Inc., NYC


1984    Ukrainian Institute of America, NYC (solo)

Community Gallery, Brooklyn Museum, Brooklyn, NY


1983    Corporate Art Directions, NYC

Weil & Company, NYC 


1982    RISD: Alumni Biennial Exhibition III, Wood Gerry Gallery, Providence, RI


1981    Semaphore Gallery, NYC










Zorya Fine Art, Greenwich, CT, 2005 to present

Accent Gallery, Ocean City, NJ, 1998-2014 

East End Gallery, Margate, NJ, 1999-2012

The Gallery At Sagemore, Ocean City, NJ 1999-2007

William Ris Galleries, Stone Harbor, NJ 2000-2001

Evergreen Gallery, Spring Lake, NJ 1997-98

The Gallery at the Taj, Atlantic City, NJ 1994-1996

Corporate Art Directions, NYC 1983-1990




Mural on Arctic and Mississippi Avenues: Fishing Pier, 2001 

Commissioned by: Casino Reinvestment Development Authority, The City of Atlantic City, and Atlantic City Special Improvement District 




Cooper Cancer Institute, 2013

AtlantiCare, The Cancer Care Institute, NJ, 2009

Harrah’s Bally’s Casino, Atlantic City, NJ, 2006-2007

Atlantic City Lifeguard Station Murals, 2003

Ruth Newman Shapiro Cancer and Heart Fund 1998-2000

Hall Capital Partners, LLC, 1982




The Noyes Museum of Art, Portrait of Two Communities, 2001


A six-month collaboration with the Noyes Museum of Art: An Artist & Designer works with area schools to create a multi-component community arts project. Using visual arts as a form of communication, middle school students from Hispanic and Asian communities in NJ were encouraged to explore their cultural values and shared aspirations. Through the artist’s visits to local schools and instruction on graphic design children were inspired to create work for a poster project entitled “Me and My Community.”

Instruction by the Artist was also provided to both children and adults at the Museum in conjunction with the presentation of her photo essay documenting and reflecting these communities.




Crafting Identity: Twelve Artists Interpret Their Cultural Roots, Ukrainian Institute of America, NYC, 2001


In this group show, twelve artists bring the historic tradition of craft and folk art squarely into the 21st Century. Melding ancient techniques with contemporary aesthetics, the exhibition participants cast a fresh light on each of the diverse mediums in which they operate, from textile design to ceramics to silversmithing. Artists: Masha Archer, Boris Dudchenko, Nancy Weeks Dudchenko, Natalia Kormeluk, Lialia Kuchma, Dan Kvitka, Sohia Lada, Nina Lapchyk, Kateryna Nemyra, Zorianna Sokhatska, Valentin, Yotkov, Sofia Zielyk


Flowers As Muse, Ukrainian Institute of America, NYC, 1999


With this exhibition the intent was to show the exuberance, forcefulness and beauty of flowers when they are the primary source of inspiration to artistic expression. This invitational including the work of five artists whose approaches to the subject matter are quite different but who share the exhilaration and joy of creating art when flowers serve as Muse. Intentionally this assembly of works comprises a rich variety of media: prints, oils, watercolors, drawings, pastels and sculptures. Artists: Nina Klymowska, Olga Maryschuk, Natalia Pohrebinska, Romana Rainey, Ilona Sochynsky, Martha Hirniak Voyevidka.



Circle of Hands, The Noyes Museum, Oceanville, NJ 2000

Urban Youth Golf League of Atlantic City

Guided by the artist, 25 students (1st and 2nd Grades) begin by tracing their hands and work toward drawing symbols that express their feelings of togetherness. The individual drawings will be combined to form a type of group signature symbolizing unity.


Graphic Design Workshop for Adults, The Noyes Museum, Oceanville, NJ, 2000

This workshop focuses on how to approach a design project such as brochures, newsletters, advertising, posters, etc. that are attractively presented and invite reading. The artist leads participants in hands-on exercises to strengthen their design principles.


Artist as Catalyst, Texas Avenue Reeds Road Schools, Atlantic City & Absecon, NJ  2000

Approx. 200 students Middle Schools (grades 6 and 7) Artist works directly with 200 students involved on a consulting basis. Each student creates a poster (20" x 26") which depicts their community and includes an interpretive statement expressing the thoughts behind the work. The artist provides instruction and commentary on composition, typography and design while having direct interaction with students.


COLLECTIONS (partial listing)


Zimmerli Art Museum, Rutgers University

The Ukrainian Museum 

The Noyes Museum of Art

Morris Propp Foundation

Phoenix Crowne Holdings

Daria Hoydysh Endowment for the Arts

Dr. Yaroslav Leshko, Chair Emeritus of Art History at Smith College

Represented in many additional private collections 

Selected Bibliography








Leshko, Jaroslaw, A Singular Vision: Ilona Sochynsky Retrospective of Paintings, Exhibition Catalog, NY (2012)


Wechsler, Jeffrey, Ilona Sochynsky: Fragments, Fetishes, Capriccios, Exhibition Catalogue, New York, NY (2009)

Papademetriou, Dorrie, Ilona Sochynsky: Abstract Intrigue, Exhibition Catalogue, Pomona, NJ (2008)

Wechsler, Jeffrey, Convergence: Paintings by Bohdan Osyczka, Marko Shuhan, and Ilona Sochynsky, Exhibition Catalogue, Greenwich, CT (2005)

Ayers, Robert REVIEWS: National, Bohdan Osyczka, Ilona Sochynsky, Marko Shuhan, Zorya Fine Art, Greenwich CT, Art News, (Summer 2005)

Saj, Christina,  REVIEW: Sochynsky's New Artworks, The  Ukrainian Weekly,  (Dec 21, 2003)

McGarvey, Denise, Richard Stockton College Art Gallery Faculty Exhibition, Exhibition Catalogue, Pomona, NJ, (1998)

Saj, Christina, Ilona Sochynsky: A Journey into Abstraction, The Creative Woman, Volume XIII, No. 4, Winter (1993)

Sochynsky, Ilona, Excerpts from a conversation about myself, Svito-Vyd (International Arts and Literary Journal), New York-Kiev, (April-June1992) 

Bass Cope, Penelope, Paintings and more down by the shore, The News Journal, Wilmington, DE, (14 July 1989)

Gill, Brendan, Posters made possible by a grant from Mobil, Graphis Press Corp., Zurich, Switzerland, (1988)

Leshko, Yaroslav, Two Fascinating Alternatives: Joint  Exhibition of Rainey and Sochynsky, The Ukrainian Weekly, Jersey City, NJ (2 August 1987)

Hordynskyj, Sviatoslaw, Paintings of Ilona Sochynsky,Ukrainian Art  Digest , Philadelphia, PA, (Oct. 1985)

Pevnyj, Bohdan, Art: Selective Viewing, Suczasnist , New York, NY (Jan 1985)

Teren-Yskiw, Theodore, On-Art Themes: Debut of Ilona Sochynsky at the Ukrainian Institute of America, Svoboda , Jersey City, NJ (9 Nov. 1984)

Pelenska, Oksana, BIENALE- RENEWAL LVIV 1991 of Ukrainian Painting, Exhibition Catalogue,  Atlos Pub., Lviv, Ukraine. (1991)

Graphic Design USA:3, AIGA, Watson-Guptill Publications, NY, (1982)



Principal, Ilona Sochynsky Associates, NY

Owner of a design firm specializing in corporate communications, graphic identity programs, advertising campaigns, and signage. Assignments include the design of logos, posters, brochures, annual reports, interior signage, and exterior architectural graphics. Notable corporate clients comprise Mobil Corporation, Paine Webber, Bank of America, Museum of Modern Art, Yale University, Union Pacific, AMAX, SCM, and the Schubert Organization.



College Level 

Adjunct Professor, Arts and Humanities,The Richard Stockton College of New Jersey, 1997-1998     

Adjunct Professor, Arts and Humanities, Atlantic Cape Community College, New Jersey, 1993-1996


Courses Taught

An Introduction to Desktop Publishing using PageMaker

Graphic Design I 

Description: Overview of art and design for visual communications, with emphasis on conceptual and technical study of typographic syntax and application. Problem-solving methods, verbal/visual conceptual skills, technique, and craft are developed through a series of problems, which parallel the professional world. Assignments in typographic composition, logo design, sequential layout, type and image, symbols, and charts are given, utilizing computer and traditional design tools. 



12th Annual Paul Aiken Encore Award 2007

"Miniature Art", Second Prize, Atlantic City Arts Center, Atlantic City, NJ 2004

 Juror, A.M. Weaver, Curator of Exhibitions and Collections, The Noyes Museum of Art

Merit Award in Painting, Women Artists of Atlantic County, Garden Pier, Atlantic City, NJ 2001

American Institute of Graphics Arts (AIGA): Communication Graphic Awards

New York Type Directors Club Award

Graphic Design USA:  3rd Annual Desi Awards

Graphic Design USA:  4th Annual Desi Awards

Selected Essays





Jaroslaw Leshko 

Prof. Emeritus of Art, Smith College 


lIona Sochynsky’s painting career, now entering its fourth decade, presents an oeuvre of visual beauty, intelligence and complexity that is a deeply personal journey of discovery.

Her imagery, rendered with precision and clarity, is a vehicle through which she explores the nature of her art: the intersection of objective reality and abstraction; the relationship of the fragment to the whole; the significance of peripheral forms of composition; the expressive power of color. These formal concerns help articulate the themes of her work that encompass the gamut of human experience.

Sochynsky attended the Rhode Island School of Design (RISD), from which she graduated in 1969 with a B.F.A. degree. She completed her studies at Yale University, from which she received her M.F.A. in 1972. After graduating from Yale, she successfully ran the Ilona Sochynsky Associates, a graphic design firm, till 1979, when the imperative to paint won out. 

Sochynsky attended the Rhode Island School of Design (RISD), from which she graduated in 1969 with a B.F.A. degree. She completed her studies at Yale University, from which she received her M.F.A. in 1972. After graduating from Yale, she successfully ran the Ilona Sochynsky Associates, a graphic design firm, till 1979, when the imperative to paint won out. 


In her first years as a painter, Sochynsky investigated contemporary art trends: she responded to the imagery of Pop Art to which she was exposed as a student at RISD and was also influenced by Photorealism, a movement of the 1970’s tangentially related to Pop Art. The imagery of vehicles and city views, rendered in a hyperrealist style, resonated with her as evidenced in works like Cadillac (1979). 


By the early 1980’s Sochynsky began to internalize her creative experience and paint images with an emotional and psychological intensity. In this effort she focused on herself and those close to her. The relatively few portraits in her oeuvre come from this period. Among the earliest is her Self-Portrait with Hairbrush of 1982, and Self-Portrait with Towel, done a year later in 1983. The artist’s major protagonist in these personally meaningful works is her husband, Petro. In a number of important paintings like Petro in Space of 1983, he is her emissary, a traveler through space and the realms of fantasy, dreams and nightmares. These and other works of the period evidence the artist’s erudition and awareness of the remarkably liberating and challenging aspect of 20th century culture. To that end, she was receptive to impulses that inform her art—the discipline of Cubism, the provocations of Marcel Duchamp that opened art’s Pandora’s Box, the emancipation of color, the élan of Art Deco, the fantasy of Surrealist dreams, the generous language of popular culture. These and other influences are assimilated into her personal and distinctive style in works like Purple Glove (1986) and Venus (1990) . 


During the 1990’s and into the 21st century, Sochynsky shifted the narrative of her art toward more formal concerns. In her small paintings from the 1990’s, for example, her focus was on the interaction of forms and colors that were, to a large extent, abstract. Done over a decade, these works maintain a cohesiveness of vision. These infinitely inventive works are small only in scale; for in their complexity of shapes and colors and in their execution, they are compelling, fully resolved and unique paintings.


Read Leshko Essay in Full

Jeffrey Wechsler

Senior Curator

Jane Voorhees Zimmerli Art Museum

Rutgers, The State University of New Jersey


The diversity of art of the modern era has sometimes been viewed as a conflict between two basic approaches, the realistic and the abstract.  How enlightening and enjoyable it is, therefore, to see an oeuvre that renders the issue moot through a hybrid art that encompasses both realism and abstraction, delving into the visual and conceptual potential of both of these artistic worlds.  The paintings of Ilona Sochynsky, as represented by the several series in the current exhibition, demonstrate that the visualization of the non-objective and the natural may be marked by a surprising mutual interrelationship, and that a fascinating art can be built on the borderline of the two approaches.  While this selection covers a relatively brief chronological range, from 2006 to 2009, it displays the ongoing development and transformation of the artist’s vision into connected yet distinct themes, each partaking of essential aspects of Sochynsky’s basic concepts of image construction. 

Crucial to Sochynsky’s art is the emphasis upon, and appreciation of, the detail.  In general, paintings are usually perceived as a whole, after which an observer may study various small parts – details – that comprise the full image.  Sochynsky’s paintings can be apprehended as overall compositions, of course, as all well-made paintings should be, but they are in essence created from details.  

Read Wechsler Essay in Full

Karen LaMonica

Chief Curator

Phoenix Crowne Holdings

New York

Stripping images to their barest essential is principle in Sochynsky’s dialogue. While at first her selection and execution of composit fragments may seem like generalizations, they are quite precise. Exploration of a subject from a close vantage point merely leads to further abstraction. These are compositions that offer a bounty of juxtaposed information, comparative to simultaneous thought or events, offering how something is experienced, in total, then processed, and filed in its personal message to each individual’s viewpoint.


From the onset, Sochynsky defined her mission by the constancy of style and evolving imagery that articulates through different aspects of her art’s growth and essence. A variety of impulses inform her art: The discipline of Cubism, the provocation of Duchamp and DaDa, the emancipation of color of the Fauves and its progression through the Orphism of Robert and Sonia Dulaunay, with its strong colors and geometry. We see the evocative shape-shifting and story-telling of Juan Miro. Making the leap through Rosenquist’s Pop Hyperrealism, the artist commands space like Giorgio De Chirico. Through Sochynsky’s eyes we have a Dali brand of Surreal shapes floating in space. Broken objects, floating biomorphic forms and engulfing textures wrap the viewer in their bounty, beauty and boldness. 

Read LaMonica Essay in Full

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