Alena Grom

TIFA 2025 Interview with Alena Grom
Photographer of the Year, 1st Place winner in Portfolio, Professional, “Stolen Spring”

Can you briefly introduce yourself and tell us what first inspired you to start photographing?

Photography became a way for me to process my own experiences and the trauma brought by the war. When I had to leave my home in Donetsk and found myself in a new city, the camera became my tool for observation and self-expression. Through photography, I was able to capture moments of life that often go unnoticed and gradually transform my inner monologue into a dialogue with the world.

I was inspired by the desire to tell the stories of people living in conflict zones and those who survived the war. I realized that photography is not just about images, but about bearing witness – a way to draw attention to important issues and create a connection with society. Each project is an opportunity for me to show the reality, emotions, and hope of those whose voices often remain unheard.

How does “Stolen Spring” reflect your own experiences and background – especially having grown up in Donetsk and lived through displacement yourself?

The project Stolen Spring directly reflects my own experience and background. I grew up in Donetsk and first experienced forced displacement in 2014, when we had to leave our home because of the war. This experience of loss, the upheaval of my familiar world, and the feeling of insecurity shaped my perspective on life and my understanding of the tragedies people endure in war.

When Russian troops invaded Bucha in 2022, where I had been living since 2017, I had to become a displaced person for the second time – experiencing a second loss, a second “stolen spring.” My work in Bucha and Irpin, observing people rebuilding their cities and lives amid the ruins, directly informed the project. The heroes of my photographs are women who became victims of Russian aggression, losing their homes, health, loved ones, and parts of their lives. Stolen Spring is not only a visualization of others’ tragedies, but also my personal story of survival and a testament to hope: despite the destruction, life continues, and Ukraine rises from the ruins.

Your series portrays women affected by war in Bucha and Irpin. What motivated you to focus on this subject, and why did you choose portrait photography to tell their stories?

My series is dedicated to women affected by the war in Bucha and Irpin because I wanted to show not just the destruction of buildings, but the human stories behind them. I was motivated by the desire to reveal the strength and resilience of people who survived the occupation, lost their homes, loved ones, jobs, or health, yet continue to live and rebuild. Having personally experienced forced displacement twice due to the war, these experiences are especially close to me – I know what it means to lose the world you know and try to build your life again.  I chose portrait photography because it allows viewers to see the individuality, emotions, and inner world of a person that is often hidden behind news reports and statistics. Through portraits, I can create an intimate dialogue with the audience, allowing them to feel that real people with real lives stand behind the war.

What does winning “Photographer of the Year 2025” at Tokyo International Foto Awards mean to you personally and professionally?

For me, winning the “Photographer of the Year 2025” award at the Tokyo International Photography Contest is not just recognition of my work, but a confirmation that my projects, which tell stories of war and human experiences, resonate with audiences around the world.  Professionally, this award signifies international recognition of my photographic language and approach. It gives me confidence to continue documenting the lives of people in conflict zones, expanding my projects, and demonstrating that art can serve not only as a witness to history, but also as a tool for dialogue, education, and change. It is a sign that my efforts and belief in the power of photography have meaning and value.

For photographers thinking about entering competitions like TIFA, what advice would you offer?

I would advise photographers who are considering entering competitions like TIFA to first and foremost be honest with themselves and their work. Don’t try to follow “trends” or cater to the expectations of the jury. What matters most is that your photographs tell your story, express your perspective, and convey the emotions you want to share.

I would also say that patience and consistency are key. Competitions value depth, sincerity, and the ability of photography to speak to important issues. And don’t be afraid to show what feels difficult or uncomfortable – it is precisely such work that leaves an impression and draws attention on an international level.