Polina Kostanda, known artistically as Polly in Wonderland, represents a new generation of artists who don't merely observe the world but actively transform it through innovative creative partnerships with artificial intelligence. This Ukrainian poet, playwright, and creative writer has evolved from exploring words and theatrical stages to engaging in groundbreaking dialogue with AI, viewing it not as a cold machine but as an unpredictable creative partner capable of generating visions no single human mind could imagine alone.

Kostanda's artistic approach transforms AI into an alchemist, creating unstable and explosive mixtures between human intention and algorithmic unpredictability. Her resulting universes blend the strange with the marvelous, mixing retro-futurism with surrealist flourishes. Her gallery includes laughing elderly women styled as rock stars alongside strange visions that could have escaped from the imaginations of Hieronymus Bosch or David Lynch. Nothing in her work is smooth or gratuitous – each image serves as a portal or distorting mirror that invites viewers to question their perceptions and challenge their certainties.

Drawing inspiration from filmmakers Andrei Tarkovsky, Wes Anderson, and David Lynch, as well as writer Viktor Pelevin and Buddhist philosophy, Polly in Wonderland refuses to claim a fixed style. She advances through successive explorations, constantly pushing her own boundaries. Each series represents new territory, with every project offering both sensory and philosophical experiences. Her international presence spans from PhEST to the visual campaign for WEMW 2025, infusing her work with the conviction that art's true role isn't to copy reality but to open passages to other worlds.

In an extensive interview conducted by Carole Schmitz, Kostanda reveals the depth of her artistic philosophy and personal approach to image creation. When asked about her first photographic breakthrough, she clarifies that her medium isn't exactly photography but rather AI-generated images that appear photographic while transcending familiar reality's limits. "I always wanted to create something like this, but there was no technical possibility," she explains. "Drawing was difficult, and taking real photos was almost impossible because the scenes didn't fit into our reality. But when AI appeared, I said: 'Hooray! This is exactly what I need!'"

Rather than citing famous photographers as primary influences, Kostanda admits she draws more visual inspiration from cinema than still images. Her icons include Lynch, Tarkovsky, Wes Anderson, and other cult directors. When discussing the image she would most like to create, she focuses on emotional impact rather than specific visuals: "I would like it to touch something deep, to freeze someone in place, make them cry, make them suddenly see their whole life flash by and understand what really matters."

Kostanda expresses particular appreciation for authentic portrait photography, citing Mike Rucker's famous Einstein portrait and Steve McCurry's photograph of the young Afghan girl as examples of vivid, atmospheric work. She also acknowledges powerful documentary images that highlight pressing social problems, despite their heavy context. Conversely, she criticizes images that elevate ugliness to beauty standards, particularly those featuring artificial beauty like siliconed lips and identical faces, calling them "awful, tasteless, boring, and vulgar."

When questioned about photography's power to change the world, Kostanda remains realistic: "If we could change the world through photography or art in general, we would have lived without hunger, without wars, and without problems long ago. A photo can influence an individual, maybe even push them to change. But not the entire world. Alas." Instead, she credits Buddhism as the worldview that changed her personal world, describing the combination of philosophy and art as "an explosive cocktail."

Kostanda's latest series features women wearing eye-shaped brooches, designed to show that each person has their own worldview shaped by their unique personality and experience. "There is no identical world for everyone," she explains. Her creative process begins with inner creative anxiety that transforms into ideas or projects, sometimes instantaneously, sometimes requiring hours of work before achieving the "Eureka!" moment.

Currently, Kostanda is developing a series dedicated to elderly women titled "Joyful Old Age." She explains the cultural significance: "In my country, there is no culture of aging; elderly people survive, are often gloomy. Many fear old age or close their eyes to it. My works show that it is not frightening, that it can be beautiful and joyful." This project reflects her broader mission to inspire viewers to open their eyes and hearts.

Describing herself as "boring" in terms of conventional vices – she doesn't drink, smoke, or use drugs – Kostanda finds her stimulation in life itself, reading, and watching good films. Her preferred method of disconnecting involves meditation and riverside walks. Despite being a self-described introvert, she recently challenged herself by accepting a trip to a crowded hotel with close friends, marking what she considers her recent "folly."

Kostanda's artistic tools consist solely of her imagination and AI application MidJourney, which she wouldn't exchange for any camera in the world. Her childhood in the USSR was marked by poverty that made owning a camera an impossible luxury. Now, she creates projects emerging directly from her imagination, closing her eyes to envision scenes before bringing them to life through AI collaboration.

When reflecting on broader philosophical questions, Kostanda suggests a banknote should feature an hourglass, symbolizing that time – the most precious thing – cannot be bought. She expresses reluctance toward professions like soldier or butcher and admits discomfort with persistent collaboration proposals, preferring to work alone. Her most recent "first time" experience was hearing a missile explosion and feeling its shockwave, a stark reminder of her Ukrainian reality.

Kostanda dreams of discovering Italy, Spain, and Greece, but finds her most beloved location remains the seaside. Her only real sadness, rather than regret, is that her father cannot see his grandson grow up. She maintains active presence on Instagram and works almost entirely in color despite preferring black and white aesthetically. Her ideal dinner would be eaten alone, and she envisions the current world state as a dirty, crowded street with an old beggar in the middle, possessing a captivating gaze.

Concluding her interview, Kostanda identifies love and compassion as what the world most lacks today. If given the chance to start over, she would follow the same path, including both mistakes and joys. Her final message expresses gratitude for the interview questions, noting that some moved her, others embarrassed her, and others made her reflect deeply on her artistic journey and life philosophy.