About Rufina Shteynberg

I was born and raised in Moldova, where my family settled after my grandparents fled Nazi occupied Romania. Despite my parents being prominent Refuzniks, my childhood was beautiful—filled with immense love and surrounded by mind-bogglingly fascinating people and events. I draw much of my current imagery from these formative years, channeling both the stories I inherited and the history I witnessed with my own eyes.

My formal education began in Moldova's capital, Kishinev, where I attended art school and college, receiving a classical education in fine art and art history. I still vividly remember our late-night group outings, braving the freezing winter darkness to sketch and paint at abandoned factories and the local railway station. It was during these exhilarating times that I first fell in love with printmaking.

When we immigrated to the United States, I continued my printmaking studies at San Jose State University. However, as the digital era exploded, I found myself drawn to the emerging worlds of graphic and web design. After expanding my studies into multimedia, I channeled my creativity into a long, rewarding career in product design.

Now, a new era begins. I am returning to the physical canvas and the press, picking up exactly where I left off—but carrying the perspective of a changing world and a matured self. I still have so many beautiful visual stories left to share.

My art & printmaking process

My artistic process is a balance of deliberate exploration and intuitive freedom. When a concept is visually clear, I translate it directly from my mind to the material, usually starting with a foundational layout in my sketchbook. If an idea is still evolving, I dedicate time to research and visual exploration, slowly gathering the necessary shapes, poses, and missing elements.

I highly value patience in my practice. If a piece feels incomplete once it hits the surface, I put it aside. I return to it periodically to look, think, and wait. Experience has taught me that the final pieces of the puzzle will inevitably lock into place once the work has matured.

Alongside this structured approach is a need for pure spontaneity. There are moments when I simply want to carve, paint, or scribble on a surface. Whether these experiments remain raw or evolve into finished pieces, they represent the core of my existence so to speak: total, uncompromising freedom.

Some samples of the process

Coffee shop owner standing behind the counter in Hanoi, Vietnam — original LYRA colored-pencil drawing and preparatory sketch for a linogravure print by Rufina Shteynberg.

Sketch w markers

Hand-carved linoleum block by Rufina Shteynberg depicting a coffee shop owner standing behind the counter in Hanoi, Vietnam.

Drawing on a lino

Hand-carved linoleum block by Rufina Shteynberg depicting a coffee shop owner standing behind the counter in Hanoi, Vietnam.

Lino plate is carved

Black-and-white linogravure print, hand-printed by Rufina Shteynberg, depicting a coffee shop owner in Hanoi, Vietnam. Printed on heavyweight, lightly textured paper using Cranfield oil-based Safe Wash inks.

BAT print in B&W

Black-and-white linogravure print, hand-printed by Rufina Shteynberg, depicting a coffee shop owner in Hanoi, Vietnam. Printed on heavyweight, lightly textured paper using Cranfield oil-based Safe Wash inks. Hand-colored with LYRA colored pencils.

Hand colored with LYRA pencils

Original abstract sketch depicting people’s emotions and fears during wartime. Drawn by Rufina Shteynberg in Petah Tikva, Israel, in March 2026, during the Iran–Israel war, using LYRA and Prismacolor colored pencils.

Sketch w prisma pencils and pastel chalk

Hand-carved linogravure block by Rufina Shteynberg, based on an original abstract sketch depicting people’s emotions and fears during wartime. Created in Petah Tikva, Israel, in March 2026, during the Iran–Israel war.

Lino plate is carved

Hand-printed print depicting people’s emotions and fears during wartime. Drawn by Rufina Shteynberg in Petah Tikva, Israel, in March 2026, during the Iran–Israel war. Printed on heavyweight, lightly textured paper using Cranfield oil-based Safe Wash

BAT print in B&W