The Future of Art Competitions in the Age of AI
GALIA VELEVA: an interview with Tanya Atanasova, Founder and Chairwoman of FiKVA Foundation
In the wake of recent controversies surrounding AI-generated art winning major competitions, the art world is facing a crucial debate: How can we preserve the integrity of traditional artistic talent while embracing innovation? As the FiKVA Foundation is currently organizing the International FiKVA Award for Painters 2025, many artists are raising concerns about AI’s impact on the art world. To address these pressing questions, Galia Veleva speaks with Tanya Atanasova, founder and chair of FiKVA, about the role of competitions, how FiKVA ensures fairness, and what AI means for painters today.
Q: FiKVA is known for celebrating true craftsmanship and artistic vision. How does the jury ensure that submissions are created by human artists rather than AI-generated?
Thank you for your thought-provoking question. The challenge of detecting AI-generated or digitally enhanced artwork is something that any art jury can face – even the most experienced professionals. What truly matters is how these situations are handled.
Our jury is composed of 12 accomplished artists who are not only experts in their field but also actively engaged in the art world – visiting exhibitions, following artists, and staying connected through social media. This means that we often recognize the work of participants or have come across their artistic presence before. While it is possible for a completely unknown artist to win a prize, it would be highly unusual for a first-prize winner to emerge without any prior trace. However, we are also excited to discover new talent. Our competition is open to all artists, including those who are just beginning to build their careers.
That said, while we take authenticity seriously, we are not detectives. Our jury members evaluate each submission with their trained artistic eye, not forensic tools. Every artist who enters agrees to our terms, which explicitly require that submissions be original, handmade works in a wet medium. During the selection process, we carefully review each piece, especially when narrowing down the final 50 works for exhibition. If the images aren’t clear enough or any doubts arise, we may reach out to the artist for clarification or a better photograph.
For our top three prize winners, particularly those receiving monetary awards, we apply even greater scrutiny. Last year, for example, I personally visited the open atelier day of our first-prize winner – incognito – just to observe his working process firsthand. This wasn’t about spying on artists but rather reaffirming the integrity of our competition.
Of course, no jury in the world can guarantee absolute certainty about every artist’s process, but we take every reasonable measure to ensure fairness. FiKVA is built to celebrate real artistic talent, and we are committed to upholding that integrity.
© Carry Content: Tanya Atanasova (left) & Galia Veleva (right)
Q: Many artists are worried about AI replacing traditional painting. What would you say to those who fear that AI could diminish opportunities for human painters?
This is a complex and ongoing discussion, but in short, I believe everything will be alright – just as it was when photography first emerged. Many feared that traditional painting would become obsolete, yet it continued to thrive because it offers something unique that technology cannot replicate.
A human painter doesn’t just create images – they offer a deeply personal, handcrafted experience. The energy, emotion, and individuality behind a painting are what truly connect with collectors and art lovers. This human touch will always have value. However, it’s important to be transparent about what we create and sell – whether it’s AI-generated or hand-painted art. Both can coexist, but they should be clearly distinguished.
The key is education. We need to teach future generations to appreciate the value of handcrafted work and the irreplaceable connection between artist and artwork. And when it comes to competitions, the solution is simple: AI-generated art should have its own separate category. That way, we can continue to celebrate human creativity without confusion or compromise.
The International FiKVA Award for Painters 2025 is currently underway. What makes this competition stand out in the art world?
What truly sets the FiKVA Award apart – not just from other competitions but from most art organizations – is that we are a nonprofit foundation. Unlike commercially driven competitions, our goal is not to generate profit but to give back to the art community. While we do have a participation fee (as organizing such an event wouldn’t be possible otherwise), every cent that comes into our “treasure box” is reinvested in supporting artists. Our entire team works on a volunteer basis – we dedicate our time and expertise purely out of passion for the arts.
We are also a small organization, which means everything we do is done personally and with great care. We’re hands-on in every aspect of the competition, and I hope artists feel this when they engage with us.
Another advantage of the FiKVA Award is that it is entirely online – you don’t have to ship your work or part with it. We’ve discussed this internally countless times, and while we appreciate the value of physical exhibitions, we are also mindful of our environmental impact. In an era of significant climate change, we choose to be as eco-conscious as possible, avoiding the need for large-scale international shipping. For now, this is our way of balancing global participation with environmental responsibility.
Q: Does software exist to analyze photos and determine whether they were created using AI?
Yes, there are various tools and software designed to detect AI-generated images. Some platforms use machine learning algorithms to analyze image characteristics, such as pixel consistency, texture patterns, and metadata, to determine whether an artwork was AI-generated.
Q: Some artists feel discouraged by the rise of AI in art competitions. What would you say to painters considering entering a competition like the FiKVA Award? Why is it still important to participate?
Every artist is free to choose their own path, but in my experience, competitions are one of the best and most affordable ways to get your work noticed – if your art is strong. Beyond the potential for winning, simply being selected for an exhibition can be a huge confidence boost, offering encouragement and motivation to keep creating.
Competitions also provide a valuable reality check on where your skills stand at the moment. Even if you don’t win a prize, being chosen for an exhibition puts your work in front of a wider audience, including fellow artists, jurors, and industry professionals. This visibility can open doors to unexpected opportunities – whether it’s invitations to other shows, collaborations, or even attracting collectors who pay close attention to competition records before making a purchase.
For emerging artists, competitions are especially powerful. If you’re still figuring out how to make a name for yourself in the art world, they offer a structured way to showcase your work and build your CV. They introduce you to new supporters, potential buyers, and a professional network that can help shape your career. In short, entering competitions isn’t just about winning – it’s about growth, exposure, and positioning yourself for future success. And for organizations, competitions are an exciting opportunity to discover fresh talent – we love seeing that happen.
Q: As an artist and competition organizer, do you think AI tools should be embraced as part of the creative process, or do they pose a threat to traditional art?
I don’t think AI alone is the biggest threat to traditional artists – it’s more about the rapid evolution of modern tools and the overall speed at which our world is changing. Handmade arts and crafts have been under pressure for a long time, and AI is just one part of a larger shift. That’s precisely why we create opportunities like the FiKVA Award – to support and encourage traditional artists, not robots or algorithms.
AI-generated art will find its place in the creative world, but as a human artist, I wouldn’t find it fair to compete against a machine. The creative process behind handmade art is deeply personal and fundamentally different from what AI does, so it makes sense to keep them in separate categories when it comes to competitions.
That said, I personally enjoy AI-created art when it’s done well. One of our jury members, Francien Krieg, is highly knowledgeable in both traditional and AI-generated art. There’s nothing wrong with using AI as long as artists are transparent about their process. The key is honesty – both in how we present our work and in how we structure competitions to ensure fair recognition for human craftsmanship.
Finally, what advice would you give to emerging artists looking to make their mark in the international art scene?
Although I have studied and practiced art all my life, certain choices delayed my artistic career. I was what some would call a “late beginner” – I only started painting professionally at 37. When I finally committed to painting full-time, I was happy to discover that art competitions were a powerful and relatively affordable way to build my name in the art world. For just a small fee, you can gain far more exposure than by trying to market yourself alone.
© Francien Krieg / Petals Of Reminiscence / Oil on linen / 80 x 110 cm / 2024
We live in modern times, and artists need to use all the tools available to them. Social media is one piece of the puzzle, but competitions offer something different – they provide credibility and long-term visibility. Instead of paying influencers for a one-time boost, participating in a competition can create lasting opportunities. If you’re selected, your name and work remain in an institution’s records/websites, appear in catalogues, and reach new audiences, collectors, and art professionals. That’s how things start rolling. And if you don’t get selected – don’t be discouraged. Every competition teaches you something, whether it’s how to submit your work properly, photograph your paintings professionally, working with deadlines or even how to handle rejection as an artist. No time is wasted; every experience helps you grow.
Another personal tip for artists – while technique is important, what truly stands out to a jury is the emotional impact of a piece. A perfectly executed painting is impressive, but what really captivates us is authenticity – work that tells a story, evokes a feeling, or transports us to a specific place or memory. Surprise us, be bold, be spontaneous, be playful, think like a child, and most of all, be yourself. Don’t try to please the jury – create what truly moves you! That’s what makes art memorable. You never know who is watching or where your art will end up.
To give you an example – at the last physical exhibition we organized with MiniARTures, I bought a small, rather dark, print from the Australian artist Cleo Wilkinson, simply because it reminded me of my deceased brother. It didn’t win a prize, but the moment I saw it, I felt a deep personal connection. That connection was so powerful that I had to give it a new home in my personal collection. Now, every time someone visits my place, they see it, and I get to share the story of how much I appreciate that piece. In a way, that kind of lasting impact is far more valuable than any monetary prize. That’s the true power of art.
One thing I want to make very clear – art competitions are not a lottery. You don’t win because you got lucky; you win because you’ve demonstrated artistic skill, vision, originality, and emotional depth. If your goal is to establish yourself in the international art scene, competitions can be an incredible tool- but only if you choose wisely. Always research the competitions you enter, ask questions if needed, and avoid those with a bad reputation or overly commercial motives. A good competition should help you grow, not take advantage of you.
© Cleo Wilkinson / Then V / Mezzotint Print / 21 x 29 cm / 2020
The International FiKVA Award for Painters 2025 is open for submissions, read more about here:
