Costa Belik

Artist based in Bangkok, Thailand.

Painting inner states, history, and human tension into visible form.

Inner oasis · 2026 · Watercolor, paper. · 13.5/12 cm

Selected Works

A concise selection from the current body of work.

A small group of works chosen for their clarity, tension, and connection to the current practice.

The bite
2026 · Watercolor, paper. · 18/23 cm

The ride
2026 · Watercolour, paper · 13.5/13.5 cm

eng:
i create custom portrait commissions in black and white or in color 🧙‍♂️💜
all i need from you is a selection of photos
available in a4 or a5 format
price: $50
the original artwork is shipped to the client anywhere in the world
book via dm ✉️ ✨
p.s. the first portrait in the carousel is available for sale, price: $150
ru:
Рисую авторские портреты на заказ в чб и цвете 🧙‍♂️💜
От вас нужна только подборка фото
Формат А4 или А5
Стоимость 50$
Оригинал отправляется заказчику в любую точку земного шара
Запись в DM ✉️ ✨
P.s первый портрет в карусели продается, цена 150$ — Untitled work

Artist Statement

For me, it usually begins with a very small shift. I might be looking at a face, or at an image I’ve had around for a while, and at some point it stops feeling neutral. It becomes heavier than it should be. I don’t think I’m trying to “translate inner states” in any clean or direct way. It’s more like I’m trying to stay with that uncomfortable moment when a portrait stops being just a face and starts feeling slightly wrong, or too present.

Recently I’ve been using flowers a lot. I’m not completely sure why. They keep coming back into the drawings before I’ve really decided to put them there. Sometimes they feel decorative, but then they also start to look anatomical, or a bit invasive, and that tension is what interests me. I used to feel like I needed to justify them somehow, but now I mostly let them appear.

Read full statementClose statement

When I’m working, I tend to pay attention to the parts that feel unresolved. I’m not really interested in making beauty and discomfort sit neatly next to each other. I’m more interested in the point where they get mixed up. Often it’s a small detail that matters most to me — the angle of a neck, the edge of a mouth, the shape of a petal that starts to look almost bodily. Those fragments can feel more charged than the full image.

I don’t want the figures to explain themselves too much. I prefer when they remain a little closed off, even difficult. I want the work to be quiet, but not empty. Ideally, it should have a kind of pressure underneath it — something that pulls you in, but also makes you feel like you’ve come too close to something private.

Recent Works