Tell us a little about yourself and your career.
I’m a Story Artist at DreamWorks, where I’ve worked on Dog Man and several projects in development, including the upcoming Forgotten Island. Growing up in Ukraine, my brother and I turned stories inspired by Eastern European folklore into our own games and projects. That love for imagination eventually became my career path. I began freelancing as a children’s book illustrator at 14, then explored different creative avenues in college—2D animation at small studios, concept art at Gameloft, and directing commercials. Each experience helped me refine my direction. After moving to the U.S. to study at SCAD, I became DreamWorks’ first Story Artist intern and later transitioned into a full-time Story Artist role. Today, I feel grateful to tell stories alongside such inspiring and like-minded colleagues.
What challenges have you faced in navigating a career in animation?
Even though I joined DreamWorks right after college, my path wasn’t straightforward. I explored many creative directions before discovering that storyboarding was where I belonged—children’s books, small-studio animation, game concept art, and commercials. Moving to the U.S. to study was both exciting and difficult, especially as an international student adapting to a new country. On top of that, the war in Ukraine created constant worry for my family’s safety and added an emotional strain to an already tough period of tight budgets and endless job applications. At one point, I received an offer for DreamWorks’ Trainee Program, but I had to turn it down because of visa restrictions. That was a very discouraging moment, but eventually, I managed to land an internship at DreamWorks, then grew into a Story Trainee and finally a Story Artist. Each obstacle—career pivots, job rejections, moving countries, and the war at home—pushed me to grow stronger and more resilient.
Who are your inspirations in the field of animation?
I’m drawn to films with emotional depth, strong visuals, and imaginative worlds. My inspirations in the field of animation span a wide range—Disney and Pixar classics, Studio Ghibli and anime, and European animation. Satoshi Kon’s bold storytelling in Perfect Blue encourages me to take creative risks. Ghibli’s atmospheric worlds, especially Spirited Away, inspire with their visual storytelling. The artistry of Cartoon Saloon’s Song of the Sea and Aardman Animaiton’s stop-motion also have a special place in my heart, as well as Eastern European films I grew up with. Childhood favorites from U.S. studios like Alice in Wonderland, The Incredibles, and Megamind continue to influence my work. From Shrek’s humor to Mob Psycho’s energy, these influences inspire me to create stories that combine heart, humor, and beautiful visuals for audiences everywhere.
What do you hope to accomplish as an artist in the animation industry?
My ultimate goal is to direct animated films. Directing commercials and a collaborative student film at SCAD gave me early experience leading creative teams, and working at DreamWorks allows me to learn daily from world-class artists. I hope to one day bring my own feature to life—a film that blends my cultural background with universal themes that connect with audiences around the world.
What does being in the Union mean to you?
Being part of the Union means having a community that supports and protects artists in an industry that can be unpredictable. It’s not just about securing fair wages and benefits—it’s about knowing that we’re not navigating this field alone. Reading other artists’ stories in Keyframe, I see how the Union helps amplify our voices and ensure we’re treated with respect. For me, it represents solidarity, stability, and a way to give back—so future generations of artists can build their careers with confidence and focus on the work they love.
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