Lilia Mazurkevich


Lilia Mazurkevich is an internationally acclaimed surrealist oil painter who creates two distinct styles of work, both of which have for decades been celebrated by art critics around the world. 


Viewers often initially choose a favourite series from Mazurkevich before learning more about the intrinsically intertwined nature of their roots and the similarity in emotions they evoke when seen in the flesh. Admirers of her work rarely stop at owning just one painting and more often than not count many from both series’ among their collections.

All Mazurkevich’s works are remarkable for the consummate skill with which she depicts the detail of fleece, fur, feathers and skin and the unexpected juxtapositions of creatures and the contexts they appear within.


Whether creating pieces which fall within her ‘Day’ or ‘Night’ series, she combines a humorous approach to her subjects with the manipulation of perspective and scale and succeeds in representing overwhelming levels of human emotion in arresting pieces that have won her wide acclaim.


In 2016 Day & Night, the most comprehensive representation of Mazurkevich’s work to date, allows visitors to compare, contrast and learn more about this incredible artist’s talent and to explore both styles produced by her, all under one roof.


Lilia Mazurkevich spent many years training extensively in some of Eastern Europe’s most respected art establishments. Following this training,during her professional early years in the late 1980s, she worked as an illustrator for national Ukrainian newspapers from her nearby home country of Belarus. This led to many lucrative deals with publishing houses across the globe throughout the ‘90s and ‘00s, creating works of art for the covers and content of internationally distributed novels and research-focused textbooks; something which, for the first time in her life, saw her leave her beloved homeland behind and integrate fully into the western world.


As a result of her growing worldwide reputation in the years surrounding the turn of the century, the canvases released to the market from Mazurkevich’s studio became highly sought after by collectors and two distinct styles began to emerge and become defined.


By 2012, Mazurkevich’s astronomical rise in popularity on the commercial art scene had seen her works accepted into the Phantasten Museum in Vienna, Austria; she had also been shortlisted at the Royal Academy of Arts’ Summer Exhibition and the BP Portrait Award at The National Portrait Gallery, both in London, UK.