Text by Irina Rusinovich
Hi Inna! Could you share a bit about your background and what initially drew you to explore the medium as your primary form of artistic expression?
Reflecting on the 15–17 years since I first picked up a camera, I believe my connection to photography started quite intuitively. It all began when a classmate brought her camera to school and let me try taking a few photos. I was immediately drawn to the process — the idea that I could so effortlessly capture a moment in time was fascinating.
Later, during the era of online diaries, I discovered vibrant communities dedicated to photography and editing. These spaces deepened my interest, and I found myself increasingly immersed in the craft. From there, everything unfolded naturally. I started meeting new people, many of whom I wanted to photograph, and their feedback fueled my passion. Friends and even strangers would tell me how uniquely I captured their essence, which became a powerful motivator for me to keep going.
By the time I graduated high school, photography had become something much larger in my life. I landed a role as a concert photographer for a music website dedicated to rock music—a dream come true for a teenager. Photographing legendary artists like Ray Manzarek from The Doors (and even getting a high-five from him during a concert!) was unforgettable. I still remember spending the night before my final algebra exam at a Marilyn Manson show, completely engrossed in the energy of capturing such moments.
Photography, for me, grew from being a simple hobby into a way to connect with people, moments, and music, adding layers of meaning and excitement to my journey.
Your work blends elements of surrealism, minimalism, and organic forms. How do you approach balancing simplicity with depth in your visual storytelling?
I always follow the principle of less is more.
After finishing school, I enrolled in the British High School of Art and Design in Moscow, where I studied photography. We had a dedicated class led by talented and in-demand photographers. When it came time to choose a focus—fashion/art, architecture, or black-and-white photography—I naturally gravitated toward fashion and art.
We analyzed countless iconic shoots from the most renowned photographers and applied what we learned to our own projects. That’s where my journey with models began, as I explored ways to incorporate them into backgrounds or conceptual ideas I created. Through this process, I started to understand what truly resonated with me visually. At first, I often tried to emulate my favorite images, but over time I developed a clearer sense of what worked for me and what didn’t in a frame.
Then came the daunting question of finding my “style.” Honestly, it frustrated me to no end — I was constantly swinging between extremes. I adored the clean, straightforward aesthetic of Terry Richardson’s fashion shoots with direct flash, but I was equally inspired by David LaChapelle’s vivid, theatrical work filled with surrealism, pop art, and provocative imagery. I wanted to do both, but I felt trapped by the pressure to define a unique, recognizable style — something I was told every artist must have.
This mindset pushed me into trying to confine myself to a single aesthetic, which only made me feel stuck. Around this time, I started studying at the University of Applied Sciences of Europe in Berlin, where the professors had a completely different approach to teaching. They encouraged me to let go of the rigid idea of finding “my style” and instead focus on creating work that felt authentic to me.
As I embraced this mindset, I found that clients and collaborators were drawn to my vision, not just a specific aesthetic. It became clear that my strength lies in balancing simplicity with depth by prioritizing authenticity. I rely on intuition, careful composition, and storytelling to create work that feels meaningful.
For me, simplicity isn’t about stripping away complexity — it’s about distilling an idea to its most essential elements while leaving room for layers of meaning. That’s how I’ve learned to navigate the balance between clarity and richness in my visual storytelling.
Sasha Panika by Inna Malinovaya
In your portfolio, many pieces seem to explore human identity and its transformation. What draws you to these themes, and how do they reflect your perspective on identity and physicality?
The theme of people holds a distinct place in my work. I am a deep introvert: I don’t like being in crowded spaces, I find it challenging to form new connections, and social interactions often feel draining. To be honest, I don’t particularly like people.
You might ask, Why, then, are people the central focus of your art? And my honest answer is, I don’t know. I’ve spent a lot of time reflecting on this paradox, and the only conclusion I’ve come to is that, perhaps subconsciously, I’m trying to confront my own aversion to people through my creative work.
Yet, paradoxically, my entire creative practice revolves around people and their images.
A turning point for me was my encounter with Marilyn Manson. I was deeply struck by the enormous gap between who he is as a person and the persona he projects through his art, music, and performances. This dichotomy fascinated me so much that I ended up writing my bachelor thesis on the concept of personas, comparing the evolving eras of Madonna, David Bowie, and Manson himself.
This research, coupled with my growing connections to artists, actors, and musicians, only fueled my curiosity. Over time, I focused my work almost exclusively on artists, captivated by the way they transform and craft their personas. What truly amazes me is how these individuals can embody different versions of themselves, blurring the lines between identity and performance.
For me, exploring human identity and its transformation is a way of understanding this duality — the tension between the authentic self and the constructed image. It reflects my fascination with the fluidity of identity and the power of physicality in storytelling. Through my lens, I try to capture these layers, revealing both the vulnerability and the strength of those I photograph.
Your art feels cinematic and atmospheric, often evoking a dreamlike Are there specific films, books, or other media that influence your creative process?
Thank you! Cinema and literature are significant influences on my creative process, and I often find inspiration in works that explore complex characters, surreal aesthetics, or atmospheric storytelling. Visually, I’m drawn to the theatricality and vibrant color palettes of directors like Baz Luhrmann, Darren Aronofsky, and Tim Burton. Burton’s films, with their darkly whimsical worlds and hauntingly beautiful visuals, deeply resonate with me. His unique ability to combine fantasy and melancholy, while creating characters that exist on the edge of reality, often mirrors the surreal and dreamlike quality I aim to evoke in my own work.
I also find inspiration from the work of iconic photographers, each with a distinct approach to capturing human expression. Jack Bridgland’s striking use of vibrant colors, bold compositions, and attention to texture inspire me to explore a more dynamic, high-impact aesthetic in my work. Annie Leibovitz, with her powerful storytelling and dramatic use of light, has taught me the art of creating bold, narrative-driven images. Peter Lindbergh’s timeless black-and-white photography, known for its raw, natural beauty, has influenced my appreciation for authenticity and the depth of emotion in simple moments. The bold, provocative style of David LaChapelle, with his vibrant, surreal imagery, and the raw, honest approach of Terry Richardson, who captures moments with an unapologetic directness, also deeply influence my work. These photographers have shaped my understanding of the power of light, composition, and personality in creating striking, cinematic images.
Additionally, Ayn Rand’s philosophy of individualism and self-expression has had a profound impact on my approach to visual storytelling. Her emphasis on the power of the individual and their identity is something I aim to reflect in my images, capturing the unique and transformative qualities of the people I photograph.
Ultimately, I strive to create images that feel alive—imbued with their own narrative, tension, and atmosphere—drawing from the many forms of media that challenge and expand my imagination.
Copyright Inna Malinovaya
Color and texture play a significant role in your work. Could you share how you choose your color palette and develop the tactile quality in your visuals?
Color and texture are integral to my work because they help convey emotion, enhance mood, and add depth to the narrative. I approach my color palette intuitively, often letting the subject, setting, and overall concept guide my choices.
For example, in some of my more cinematic and surreal images, I use rich, saturated colors to evoke a sense of intensity and to heighten the visual drama. I’m also drawn to contrasts—whether it’s the stark juxtaposition of light and shadow or the combination of warm and cool tones—which creates a dynamic tension in the composition.
Also, one of my core preferences is to keep everything in sharp focus. I love when an image is so precise and detailed that you can see every single lash. I’m not a fan of shots where the background is overly blurred or filled with bokeh. For me, sharpness creates clarity and allows every detail of the scene or subject to be fully appreciated, without distractions. This approach is especially important in portraiture, where I want to emphasize every nuance of the person’s expression and appearance.
As an artist working in both personal and commercial spheres, how do you maintain your creative voice when collaborating with brands or clients?
Until February 2024, I struggled to trust myself and my work. I worked on many projects „for the client“ that didn’t align with my style and couldn’t be included in my portfolio or shared on social media. I tried to convince myself that it was okay — these projects brought in money and stability, but deep down, I wasn’t satisfied. I shot „regular“ people and didn’t feel fulfilled by the results.
In February 2024, I experienced severe burnout that affected me both mentally and physically. I didn’t understandwhat was happening with my body or how to fix it. At one point, I couldn’t even look at myself in the mirror, and I didn’t want to leave the house. This prompted me to rethink everything I was doing. I decided to step away from „personal shoots,“ and soon after, I began to feel a physical improvement in my well-being.
Then, I received an email from the CEO of Zatchels, who offered me a product shoot, saying, „Shoot everything just like in your portfolio. You have complete freedom with the concept.“ This moment was a turning point for me. Whether it’s psychosomatics or coincidence, after that email, I felt the burnout fade, and my body responded positively to the change.
After this, I started reaching out to brands and artists I wanted to work with, and to my surprise, they started responding and agreeing to collaborate. Over time, brands and artists began to find me, offering projects where I could work in my own style. More clients began saying, „We’ve seen your portfolio and want you to shoot exactly the way you do. We completely trust your vision!“ This gave me the confidence to combine my creative process with commercial work, without losing my identity. Most importantly, it allowed me to find stability in doing what I love and paying my rent at the same time.
Now, I no longer have to fight to maintain my creative voice. Clients come to me specifically for what I do.
You often experiment with unconventional compositions and perspectives. What drives your exploration of these non-traditional visual approaches?
My exploration of unconventional compositions and perspectives is driven by a desire to challenge the viewer’s expectations and provoke a deeper emotional response. I’m always looking for ways to present familiar subjects in a way that feels new or unexpected. For me, it’s not just about capturing an image; it’s about creating a visualexperience that immerses the viewer, pulling them into the narrative and the atmosphere I’m trying to convey.
In many of my works, I intentionally break traditional rules of composition—whether it’s using negative space, playing with unusual angles, or placing subjects off-center. I find these approaches allow me to evoke a sense of tension, dream-like quality, or surrealism, while still maintaining a strong focus on the subject’s identity. These non- traditional perspectives also reflect my interest in exploring the idea of transformation and how we perceive the world around us.
I also enjoy experimenting with the relationship between the subject and the environment. Often, I’ll intentionally blur the lines between the two, whether through lighting, framing, or integrating surreal elements into the scene. This approach not only enhances the mood of the image but allows me to tell stories that feel more dynamic and multi-dimensional.
As a result, I believe that by pushing the boundaries of composition and perspective, I can create images that feel alive and invite the viewer to engage in a deeper visual dialogue.
Copyright by Inna Malinovaya
Copyright by Inna Malinovaya
Fashion appears as a recurring theme in your portfolio, but it’s presented in a highly conceptual way. How do you interpret the relationship between fashion and art in your practice?
Fashion has always been an important theme in my work, but I approach it in a conceptual, rather than purely commercial, way. For me, fashion is more than just clothing; it’s a form of self-expression, an evolving reflection of identity, and a powerful tool for storytelling. I see fashion as a language, one that communicates not just through the garments themselves, but through how they are styled, positioned, and interacted with in the frame.
In my practice, I often explore fashion as an extension of the human form, as a way to enhance or alter the identity of the subject. I enjoy exploring the intersection of fashion, art, and identity, using garments as a means to enhance or transform the subject’s persona. By combining fashion with surreal or abstract concepts, I aim to shift the focus from the clothes themselves to the deeper narrative they convey about who we are or who we can become.
The relationship between fashion and art in my work is not just about aesthetics, but about evoking emotion and provoking thought. Fashion, when approached conceptually, has the ability to transcend its usual role and become a medium for artistic expression—challenging the norms of both fashion and visual art. This is why I strive to push boundaries in the way fashion is presented, turning it into a dynamic part of the visual story, not just an accessory or trend. Eventually, fashion in my work is a powerful vehicle for exploring themes of transformation, identity, and the way we construct ourselves in the world.
Looking at the future, are there any specific themes, mediums, or collaborations you’re eager to explore next in your art?
Looking ahead, I’m excited to delve deeper into themes of identity, transformation, and the interplay between reality and surrealism, continuing to challenge myself and expand the narratives I create. I’m particularly interested in exploring more experimental approaches to storytelling, perhaps integrating motion into my work— whether through short films or mixed-media projects that combine photography with video, sound, or even AI-generated elements.
Collaboration is another area I’m eager to expand upon. I’d love to work more closely with musicians, actors, and designers who are unafraid to push boundaries, creating conceptual projects that merge art, fashion, and performance.
Collaborations with unconventional brands or institutions that align with my artistic vision would also be exciting opportunities to grow and innovate.
Eventually, my goal is to continue evolving as an artist, finding new ways to express the emotions, contradictions, and complexities that drive my work, while staying true to the themes and visual language that resonate most with me.
follow Inna on her Instagram here
