1 April 2026

“Upcoming Solo exhibition – Echoes of the Bush”

I cordially invite you to my solo exhibition Echoes of the Bush at Art Space Gallery – The Concourse, Chatswood. My admiration for Australian nature and close observation of my surroundings have resulted in a series of tree portraits and Australian bush textures. These textural works are made to be experienced in person. I would be delighted to see you at the workshops, conversations, and the opening night celebration. See you there!

“Recent Exhibitions & Finalist Highlights”

Over the past months, I’ve been honoured to be selected as a finalist in several exhibitions across Australia. Being part of the evolving art mosaic in Sydney and beyond is something I truly value. In October, my work was shown at Gallery 11:11, followed by Bridges to Belonging in Adelaide in November — an exhibition that explored connection, identity, and shared stories. December brought another exciting milestone: I was delighted to be a finalist in the 40 by 40 Exhibition at Newcastle Art Space 🎉 This exhibition celebrates over forty years of a vibrant creative community and showcases artworks measuring 40 × 40 cm — a reminder that great art can come in small packages. The exhibition ran in early December 2025. Also in December, I was selected to participate in The Summer Prize Exhibition at Northern Beaches Gallery, an exhibition absolutely worth visiting with many outstanding works on display. Among them was my painting Jingymia mallee — Eucalyptus synandra, shown in late December. Another memorable moment from this period was seeing one of my artworks sold at auction directly from the concert stage — a powerful reminder of how art can live and breathe beyond gallery walls. Currently, my work Nocturne for Large-Fruited Mallee is on display at:

“Gallery 11:11 Art Prize - People’s Choice Award 2025 ”

I’m delighted to share that my artwork “Bottlebrush Symphony” received the Gallery 11:11 Art Prize / People’s Choice Award! A heartfelt thank you to everyone who visited the exhibition, voted, and shared in this wonderful experience. Your support, encouragement, and kind words mean so much to me. The winning piece, “Bottlebrush Symphony,” will be available for purchase through the Gallery 11:11 website for the next eight weeks: www.gallery1111.net It was such a joy to celebrate this moment surrounded by art lovers, friends, and the creative community.

“City of Sydney Civic Collection”

I’m deeply honoured that my painting, St. Andrew’s Church in Kyiv, Ukraine is now part of the City of Sydney Civic Collection. This artwork was officially presented in May 2025 by Andrew Mencinsky, President of the Ukrainian Council of NSW, to Lord Mayor Clover Moore and the City of Sydney—a gesture of gratitude for their ongoing support of displaced Ukrainians and our community since the beginning of Russia’s full-scale invasion in 2022. St. Andrew’s Church is a treasured Baroque gem of Kyiv, perched above the historic Podil district. Designed by Italian architect Francesco Bartolomeo Rastrelli in the 18th century, it stands as both a cultural icon and a spiritual beacon. This church holds a special place in my heart — my mum and grandfather were born not far from it, and during my art school years we spent many plein air sessions painting around its beautiful grounds. The presentation took place a month ago, but I was waiting for the official photos before sharing this moment with you. Australia’s support of Ukraine and part of my home city Kyiv, now represented in Sydney’s civic collection means more than words can express.

“Textured paintings”

Trained in the classical European school of realistic drawing and painting, I’ve worked across many mediums, but today I am best known for textural acrylic and oil works that focus on the individuality of Australian flora. My process begins with shallow sculptural relief backgrounds that capture the forms and textures of the bush. Onto these surfaces, I layer subtle hues and naturalistic details. From afar, the paintings often read as abstract compositions; up close, they reveal intricate studies of colour and form. As a newcomer to Australia, painting became my way of connecting with this land — learning its trees, flowers, and light through observation. I believe that when we truly know something, we begin to care for it. My work invites viewers to see the bush not as a uniform green mass, but as a collection of distinct, vibrant individuals.

“Small Workshop, Big Impact: Borders, Bonds, Belonging”

Sometimes, I run very small, intimate workshops—just three participants—so each person can explore their own individual theme. This particular workshop was organised and sponsored by CMRC and contributed to the exhibition Borders, Bonds, Belonging, held at Ngurra Gunya Exhibition Hall, Parramatta Square. The exhibition, organised by CMRC and ADSi, was part of #RefugeeWeek2025 — a time to reflect, connect, and stand in solidarity amid global displacement and conflict. Twelve talented Ukrainians shared their culture through paintings, music, and poetry, creating a powerful celebration of identity and resilience. Our workshop took place in my art studio, which conveniently had all the supplies ready. The theme was open: participants could explore anything that reminded them of Ukraine or anything particular they love about Australia. The results were personal, heartfelt, and inspiring — a true testament to the power of creativity in connecting people and cultures.

“Workshop at the bakery”

A huge thank you to everyone who joined the workshop! I’m so proud of the beautiful creations you brought to life and all that you achieved with your creativity. A special shoutout to Sandy Bake Shop for hosting us in such a lovely space — your warm and welcoming environment made the day even more enjoyable. And of course, thank you to Nataliya Bake For Ukraine for the delicious sweet treats — you added that extra touch of magic to our day! It was such a joy to share this creative experience with you all. I can’t wait for the next one!

“Featured in Art & Style Magazine”

We’re very grateful to be featured in the latest issue of Art & Style Magazine, which includes a thoughtful article about True Blue & a Little Bit of Yellow artist collective. The feature explores how our art supports ongoing fundraising efforts, highlights the unexpected connections between Ukraine and Australia, and introduces each artist’s individual style and approach. It’s a generous and well-considered look at our shared work and values. A huge thank you to Doug Clark for the wonderful write-up, and sincere thanks to Wayne at Northern Beaches Gallery for his continued support. This issue is filled with remarkable talent, and we’re honoured to be included among it.

“Two workshops at the exhibition”

During the Rooted in Nature exhibition, I ran two small, intimate workshops focused on observing nature through different lenses. The first workshop explored trees from a distance — their shapes, rhythm, and presence in the landscape. The second shifted to a close-up study of eucalypt blooms, celebrating detail, texture, and colour. Working with texture paste and acrylic, we built layered, expressive surfaces full of energy. I keep my groups small to allow for a more personal approach, and although everyone followed the same process, each artwork turned out completely different. There is something truly magical about creating inside an exhibition space. Being surrounded by artworks and artists in the act of making seems to boost creativity and confidence — the energy is contagious. Both groups did an incredible job, and I’m genuinely proud of the results and the courage they brought to their work.

“Interview for Ukrainian magazine The Woman ”

I’m honoured to be featured in the Ukrainian magazine The Woman, where I share my journey as an artist and as a Ukrainian woman living and creating in Australia. The article reflects on my creative path, the experiences that shaped my practice, and the way art has helped me stay connected to both place and identity while building a life on the other side of the world. Living between two countries has taught me that connection to homeland doesn’t disappear with distance — it transforms. Through my work, I carry memories, values, and cultural references from Ukraine into my life in Australia, creating a quiet dialogue between the two. Art becomes a bridge, linking landscapes, histories, and emotional ties across continents, and allowing me to feel grounded in both places at once. It is always meaningful to see this story resonate beyond my immediate community, especially when it reaches readers who may recognise their own experiences of migration, belonging, and cultural memory. I’m grateful to the editorial team for their interest and thoughtful approach to telling my story.

“The Spirit of the Peninsula exhibition at NBG”

In March 2025, True Blue & a Little Bit of Yellow presented a fundraising exhibition titled The Spirit of the Peninsula at Northern Beaches Gallery, Cromer. Running from 8–22 March, the exhibition invited visitors to walk through the familiar rhythms of the peninsula — its streets, bushland, and the light-filled beaches of North Sydney. The works reflected a strong sense of place while remaining deeply connected to broader stories of belonging and care. At its heart, The Spirit of the Peninsula was about building a bridge between Australia and Ukraine. Through art, the exhibition created a space for connection, support, and generosity during challenging times, reminding us that local landscapes can carry global meaning.

“Heartlands — A Multimedia Performance”

Being part of the Heartlands multimedia performance at Cell Block Theatre, Sydney, was a true privilege and an honour. It was a project driven by an incredibly motivated and generous team — a real dream team — and the result was powerful. A person, who came up with the idea of this unique event never held in Sydney before, creative director and producer of Heartlands – Linda Gough. For this performance, I created the artwork of a golden wheat field rising from black soil. Ukraine is often called the breadbasket of Europe, and its fertile land has long nourished not only grain, but literature, music, and cultural memory. This image became the visual heart of the event, reflecting both abundance and endurance. Heartlands offered audiences a deep experience of Ukrainian culture through poetry, music, storytelling, food, and shared presence. To my knowledge, it was the most substantial Ukrainian literary performance ever staged in the Southern Hemisphere, and I am proud to have supported it. My role extended across the full visual identity of the event. I created the key artwork used throughout all materials, designed print collateral including posters, programmes, and food signage, developed digital assets for multiple platforms, and contributed to stage design. During the performance, my artwork formed the visual backdrop on the large screen behind the performers, shaping the atmosphere of the evening.

“Double Solo exhibition at Chatswood Art Space on the Concourse ”

Our double solo exhibition at Chatswood Art Space on The Concourse was an experience we will long remember. A heartfelt thank you to everyone who visited, supported the exhibition, and purchased artworks — your engagement made this show truly meaningful. Out of my 28 artworks presented (18 on the walls and 10 in storage), 19 have found new homes. Over the ten days of the exhibition, we had the privilege of speaking with around 600 visitors, and we are deeply grateful for the thoughtful feedback and personal stories shared along the way. Special thanks go to the Willoughby Council staff and Mayor Tanya Taylor for their support and smooth organisation. We are also thankful to our guest speaker Alan Davies and musician Viktoria Stepanenko, whose contributions added depth and warmth to the opening evening. The atmosphere throughout the exhibition was generous and engaging. We hope visitors carried a sense of positivity with them, and perhaps a renewed desire to connect with nature — something art does best when it is shared.

“Live Sand Animation at Sydney Town Hall”

In August 2024, more than 725 guests gathered at Sydney Town Hall to mark the 33rd anniversary of Ukraine’s Independence, standing together in solidarity, pride, and unity. The event, organised by the Ukrainian Council of NSW, unfolded as a powerful theatrical performance sharing Ukraine’s history, culture, and resilience. I took part in the program through live sand animation, accompanying the story of Illia — a brave Ukrainian boy who shared his lived experience on stage. As Illia spoke in front of the audience, I illustrated his words in real time with sand, allowing the images to emerge and dissolve alongside his voice. The story was deeply moving — painful, yet filled with hope for a better future. Working with sand live on stage brings its own challenges. Under pressure, with nerves and lights, even something as simple as sand becomes unpredictable — warm palms, fine grains sticking to skin, moments that cannot be undone. But perhaps that fragility is exactly what made the experience so honest. Illia’s story was shared with remarkable courage. At just twelve years old, he stood before the audience to tell the truth of what he had lived through. A video of this performance is available, featuring Illia Kyrychenko, with sand animation by Tetiana Koldunenko, and script, direction, and filming by Kateryna Kyrychenko. It was an honour to be part of a moment where story, image, and human strength met on one stage.

“Right to Be Free exhibition at Sydney Town Hall”

Right to Be Free was an art exhibition by True Blue & a Little Bit of Yellow, created to mark Ukraine’s Independence Day and presented as part of the Freedom. Courage. Culture. performance at Sydney Town Hall in August 2024. The exhibition focused on fundamental human rights and freedoms — values currently under severe threat in Ukraine due to the unlawful Russian invasion. The visual artworks deliberately reflected the joyful, life-affirming aspects of freedom, while accompanying posters addressed the specific rights being violated. This contrast invited viewers to reflect on what freedom means, and what is at stake when it is taken away. Presented in the heart of Sydney, the exhibition formed part of a broader cultural program celebrating Ukrainian identity, resilience, and independence.

“Exhibition at the The Art House, Wyong”

Breathing Space was a group exhibition by True Blue & a Little Bit of Yellow, held at The Art House, Wyong, NSW, from 1–25 May 2024. It felt good to return to the Central Coast and exhibit together once again. The works on display moved between bold painterly gestures and refined detail, with many pieces inspired by the coastal landscapes of the Central Coast and Sydney’s Northern Beaches. The exhibition offered space for colour, reflection, and connection — a moment to pause, breathe, and engage with art grounded in place and experience. Breathing Space was both a return and a continuation — of shared practice, shared values, and ongoing support through art.

“CBD Gallery Exhibition "Love Letter to the Ocean"”

True Blue & a Little Bit of Yellow, in collaboration with CBD Gallery, presented a fundraising exhibition in the heart of Sydney titled A Love Letter to the Ocean. Created by five artists of Ukrainian heritage, the exhibition was dedicated to the water element and to a shared love of the ocean. Working across different styles and mediums — from ancient techniques and classicism to impressionism, divisionism, and fine art photography — the artists invited viewers to dive into blue, touched gently with yellow. We extend our sincere gratitude to Xiaoxiao Zhang for her invaluable support in providing CBD Gallery as the venue for this fundraiser, and for her continued support of Ukraine. The exhibition was held at CBD Gallery, Sydney, from 6–19 October 2023

“Balmain and Woollahra exhibition Colours of Freedom”

Colours of Freedom was a group exhibition by True Blue & a Little Bit of Yellow, created to honour Ukrainian Independence Day on 24 August. The exhibition brought together Ukrainian artists living in Australia around a simple but powerful challenge: to create works using only two colours — blue and yellow. Within this limitation, each artist found their own voice. The palette became a shared language, symbolising freedom, hope, and the ongoing journey of Ukraine’s independence. Despite the restraint, the exhibition was rich in emotion, interpretation, and strength, reflecting resilience through colour alone. The exhibition was generously supported by the Balmain Association and the Ukrainian Council of NSW, and was presented across two locations: Balmain Watch House Gallery from 11–13 August 2023, and Woollahra Redleaf Gallery from 23–25 August 2023. Colours of Freedom stood as a reminder that even with the simplest means, art can speak clearly, carry meaning, and bring people together in solidarity.

“Sydney Town Hall exhibition 2023”

Ukraine: Secrets of Resilience was an exhibition by True Blue & a Little Bit of Yellow, presented at Sydney Town Hall to mark one year since the start of the full-scale Russian invasion of Ukraine. I wanted to find a way to help people in Australia understand what war is — not in abstract terms, but through human experience. That idea became Secrets of Resilience. I went through a year of devastating news and personal testimonies, selecting stories that resonated most deeply and spoke about survival, loss, strength, and endurance. From these stories, I created a series of posters combining documentary photographs, written accounts, and artworks — my own and those of fellow artists — alongside real objects carrying personal and symbolic meaning. Each element was chosen carefully, so the exhibition could be read, felt, and experienced rather than simply viewed. Working through so much human pain was emotionally demanding. Revisiting these stories left a lasting mark, but I believe the process was necessary. The exhibition allowed many visitors to imagine themselves in a place of conflict and offered a glimpse into how people continue to live, endure, and remain human under unimaginable circumstances. It was not an easy exhibition — but it was an important one.

“Workshops at the Australiana exhibition”

There is a particular kind of magic in creating art surrounded by so many artworks. Working within the exhibition space was deeply inspiring, and behind us you could glimpse True Blue & a Little Bit of Yellow — AUSTRALIANA unfolding around the workshops. I am immensely proud of everyone who took part in the painting workshops during the Australiana exhibition. Scarlett banksia bloomed in every artwork, each one different, each one full of care and attention. The second workshop focused on native flowers, and the results were so strong that it became hard to tell which work was mine and which belonged to the participants. That level of engagement and confidence is something truly special. People often ask how to cope with stress, how to live with worry, how not to feel overwhelmed by the news from Ukraine. My answer is simple: respond in the way you can, and stay connected. Art, shared time, and human presence matter. Thank you to everyone who came to support, create, and be present. I hope these workshops brought moments of light and positive energy. We choose to live fully, to stay strong, stay together, and find joy in art and friendship — despite everything.

“Australiana — Incinerator Art Space”

The 7th fundraising exhibition by True Blue & a Little Bit of Yellow took place at Incinerator Art Space, Willoughby, from 16–27 November 2022, and remains one of our most memorable milestones. Over two weeks, we were overwhelmed by the support, kindness, respect, and genuine engagement from the local community. Australiana brought together seven artists and resulted in 18 of 30 artworks sold, with close to $10,000 raised to support people in Ukraine during a time of great need. The exhibition was alive with connection and participation. I conducted two highly successful workshops on site, including a painting workshop where Scarlett Banksia bloomed across every artwork, and a special children’s workshop for students from Nova Ukrainian School. Seeing young participants engage with art in this context was deeply moving. We were honoured to welcome remarkable supporters and guests at the opening, including Mayor of Willoughby City Tanya Taylor, MP Tim James, Honorary Consul of Ukraine in Sydney Jaroslav Duma, Deputy Chief of Mission Volodymyr Shalkivski, Co-chair of the Australian Federation of Ukrainian Organisations Kateryna Argirou, and many others. The opening was enriched by the music of Harrison Taranec on tenor saxophone, and the closing event was beautifully marked by violinist Maryana Sywak from Jaga Band. Australiana was more than an exhibition — it was a shared effort, a meeting of art, community, and generosity, and a powerful reminder of what can be achieved when people come together with care and purpose.

“Mona Vale Pop Up Gallery”

Spring Gives Us Hope was a fundraising exhibition by True Blue & a Little Bit of Yellow, held at Mona Vale Pop-Up Gallery on Sydney’s Northern Beaches from 17–28 October 2022. Unstoppable in our commitment, we continued to paint, exhibit, and raise funds to support those in need, using art as a way to respond, connect, and help. The exhibition was filled with colour and optimism — flowers, birds, and vibrant palettes came together to reflect renewal, resilience, and the emotional lift that spring brings. It was an uplifting visual response during a difficult time, offering light and hope through art. We are deeply grateful to everyone who visited, supported the exhibition, and purchased artworks. Your generosity made a real difference. Knowing that, once again, art could help support the people of Ukraine is something that continues to warm our hearts.

“Curl Curl Creative Space Exhibition”

True Blue & a Little Bit of Yellow — UNITED. The second exhibition by True Blue & a Little Bit of Yellow expanded the circle. This time, Ukrainian and Australian artists came together, united by solidarity and a shared belief in the power of art to help. Seventeen artists participated in UNITED, a collective effort where local creatives gathered their talent for a clear purpose — to raise funds for humanitarian aid supporting Ukrainians affected by the war. Held at Curl Curl Creative Space Gallery from 21–24 July, the exhibition became a meeting point of cultures, generosity, and creative voices. We are deeply thankful to everyone who took part, visited, supported the artists, and contributed to this cause.

“Gosford Regional Gallery”

The exhibition True Blue & a Little Bit of Yellow at Gosford Community Gallery was the first of many we held during the first three years of Russia’s full-scale invasion of Ukraine. It marked a moment when art became a way to stand together, to act, and to help. Seven Australian artists of Ukrainian descent, all living and working in Australia, came together to sell artworks and raise funds for Ukrainians in need. The theme — blue and yellow — was both simple and deeply felt: a tribute to the ocean, to emotion, and to shared experience. We are endlessly grateful to everyone who visited, supported the exhibition, purchased artworks, or made a donation. This exhibition ran from 27 June to 1 July 2022, and it set the tone for everything that followed.

“Darling Harbour Costume Show”

Cultural Performance at the Ukrainian Festival, Sydney — 2022. In 2022, I curated and produced a major cultural performance at Tumbalong Park, Darling Harbour as part of the Ukrainian Festival. The show was created primarily using the private collections of Roxolana Mishalow and Tanya Whitbourn, whose garments carried deep regional and historical significance. This performance was unlike any I had worked on before. All of the models were Ukrainian refugees. Each person on stage carried their own story of displacement, resilience, and survival, which gave the presentation an added layer of meaning that could not be staged or rehearsed. The vibrant regional costumes were intentionally contrasted with the visual narrative behind them. I designed a series of projected slides showing Ukrainian towns and cities before and after the war. Together, costume and imagery created a powerful dialogue — beauty and heritage set against destruction and loss. What emerged was more than a performance. It became a moment of collective remembrance and visibility, honouring Ukrainian culture while acknowledging the realities of war. Through this work, tradition was not frozen in the past, but stood firmly in the present — resilient, human, and deeply alive.

“2019 NGA Ukrainian Costume Show”

Cultural Production at Scale: Behind the Scenes of Diplomatic Performances. Large-scale cultural productions rely on careful planning, close collaboration, and deep respect for historical detail. The costume performance at the National Gallery of Australia, Canberra, in 2019 was the most complex project of this kind that I coordinated. It was created for the Embassy of Ukraine and the Ukrainian Women’s Association, and held in honour of the late Christine (Hrystyna) Syvenkyj-Bailey, whose lifelong dedication to Ukrainian cultural heritage continues to resonate deeply. The project required working across multiple teams and private collections to deliver a unified and meaningful performance for a diplomatic audience. For this event, I coordinated 29 models and 17 private collectors, alongside multiple cultural organisations and contributors, bringing together diverse elements into a single coherent presentation. Every detail — from costume construction to the order of presentation — was carefully curated to communicate a clear cultural narrative. My responsibilities spanned curatorial decision-making, logistical coordination, visual design, and narrative development, ensuring that each component supported the overall experience. An earlier performance in 2018, initiated by Christine Syvenkyj-Bailey, was created primarily on the basis of her personal collection. My role focused on shaping the presentation, coordinating contributors, and translating the collection into a clear and engaging public performance. Creating region-appropriate floral head wreaths and jewellery for such a large number of models was particularly challenging, both creatively and logistically. Managing the transport, handling, and return of numerous historical and handmade items required precision and care, but the process was completed successfully without loss or damage. Following the event, I designed a commemorative calendar featuring photographs taken during the performance by Tetiana Matsypura, extending the life of the project beyond the event itself.

“Portraits — Creating Memories That Endure”

From time to time, someone commissions a portrait not simply as an artwork, but as a way to preserve a presence — a face, a character, a moment in life meant to last beyond the present. Portraits hold a unique place in art because they are created with the future in mind, becoming part of a family’s visual history. When I work on a portrait, my focus goes beyond likeness. I look for what makes a person recognisable to those who love them — a certain expression, a posture, a quiet strength or warmth that speaks of who they are. These details are often subtle, but they are what transform a portrait into something deeply personal. Commissioned portraits are often created to mark important moments: a milestone, a legacy, or a tribute. Over time, they become witnesses to family stories, passed from one generation to the next, carrying memory, identity, and connection. For me, creating a portrait is a shared process built on trust and attentiveness. It is about honouring the individual and creating a work that will continue to speak long after the sitting has ended — a lasting memory, held in paint.

“National Gallery of Australia - Ukrainian traditional costume show”

In 2018, I was invited to curate and coordinate a cultural performance for a diplomatic function at the National Gallery of Australia, at the request of the Embassy of Ukraine and on the initiative of Christine Syvenkyj-Bailey. The performance was created primarily from Christine Syvenkyj-Bailey’s private collection, with additional contributions from the collections of Sonia Mycak and Roxolana Mishalow. I am deeply grateful to them for their generosity and trust. This project was far more than event coordination — it was about giving history a voice. Every costume, ornament, and movement carried memory, identity, and meaning. My role was to carefully weave these elements into a coherent narrative that honoured tradition while allowing it to live and breathe in the present moment. I oversaw the entire creative and organisational process: selecting traditional Ukrainian costume elements, sourcing authentic garments and objects from private collectors, and recreating historical headpieces and jewellery where originals could not be used. I wrote the presentation script to guide the audience through the story, and designed all visual and printed materials — from slides and banners to invitations, gifts, and calendars — ensuring a unified visual language throughout the event. Behind the scenes, the work was equally intricate. I coordinated models and assistants, managed the careful transport of costumes and artefacts from Sydney to Canberra and back, and balanced countless logistical details so that, on the day, everything felt effortless and dignified. What emerged was not simply a performance, but a living expression of cultural memory.

“Memories of Home in Art”

For me, as for many of my collectors, moving to Australia has been a blessed and life-changing experience. At the same time, it doesn’t erase the feeling of missing home. Memory travels with us — through seasons, colours, familiar landscapes, and small visual details that stay deeply rooted inside. Quite often, Ukrainian collectors commission artworks that reconnect them with home. These might be flowers remembered from a childhood garden, the softness of snow, the glow of golden autumn, or the unmistakable outlines of traditional Ukrainian architecture. These subjects carry emotional weight — they speak of belonging, memory, and personal history. I find great meaning in creating these works, because I share the same feelings. Painting nostalgic themes allows me to revisit places and atmospheres that shaped me, while offering others a visual connection to what they hold dear. The artwork becomes more than an image; it becomes a bridge between past and present, between where we come from and where we are now. Through these commissions, nostalgia turns into something tangible — a way to honour memory, identity, and the enduring connection to home, even when life unfolds far from it.

“Photography”

Photography is another way I tell stories. Through the lens, I focus on capturing the essence of a moment — and quite often, that essence is found in something simple and authentic, like a genuine smile. For me, photography is not about staging perfection, but about conveying mood, feeling, and the small details that make each moment distinct. My approach is grounded in clarity and intention: clean, uncluttered compositions mood-driven visual storytelling thoughtful styling, particularly in portrait work I enjoy creating portraits that feel natural, balanced, and well composed, as well as documenting events in a way that is honest, engaging, and true to the atmosphere of the moment. Whether photographing a performance, an event, or an individual, my focus remains consistent — imagery that communicates clearly and carries emotional weight.

“Books”

Books have always felt magical to me. Unlike social media, they don’t disappear into a feed — they stay in your hands, on your shelf, and in your life. A book captures what’s important and preserves it for generations. And to make that experience meaningful, every detail matters. Over the years, I’ve worked on many publications — sometimes creating the layout, other times designing covers, illustrations, or managing the entire visual direction. One of my favourite projects was Taste of Ukraine, published by the Australian Publishing Company (sovabooks.com.au). I created the cover illustrations and the full layout — and the book went on to win the 2013 Gourmand World Cookbook Award. I’ve also worked with community organisations, including Ukrainians Down Under for AFUO, where I served as both editor and designer for their catalogue. Four Jubilee Book for Intersession of Holy Virgin Parish is one of the thickest and most comprehensive publication I’ve worked on to date. Each book is its own world — structured, tactile, permanent. And I love shaping those worlds so they’re clear, beautiful, and built to last.

“Master degree at COFA UNSW”

My Master of Design (Hon.) at COFA, UNSW focused on one question:
How can we improve children’s engagement with printed materials to support better learning outcomes? My research shows that the more areas of the brain engaged in processing information, the stronger the memorisation and recall. I explored how to activate as many of these pathways as possible — story for narrative memory, colour for emotional response, sound and action for sensory cues, spatial awareness for orientation, and visual coding for recognition.
In short: designing visuals that teach, entertain, and stay in a child’s memory. But my journey with children’s design began long before my Master’s.
Over the years, I’ve illustrated several children’s books and created my own comic book about the adventures of a Ukrainian boy in Australia — writing 20 stories and drawing all of the comic illustrations myself. These projects shaped my understanding of how we see, learn, and connect with visual narratives — a foundation that continues to guide my work today.

“Edipresse Ukraine, International Publishing House”

Before moving to Australia, I spent five formative years working at Edipresse Ukraine, an international publishing house. I began as a designer and illustrator and later took on the role of chief editor, alongside working as a photographer and illustrator. This period played a significant role in shaping my approach to clarity, storytelling, and creating strong, high-quality visual narratives. Between 2004 and 2009, I worked across a wide range of publications and roles: 2006–2009 — Chief Editor, Photographer, Designer & Illustrator, Fun Ideas (children’s craft magazine) 2006 — Designer & Illustrator, English Teen Club (English-learning magazine for teenagers) 2004–2008 — Illustrator, Horoscope (women’s magazine) 2005 — Designer, Marketing Department

“Exhibitions in 2011”

In 2011, while completing my Master’s degree at UNSW COFA, I joined a student artist group called All For You (AFY). The group brings together artists who were studying at or had graduated from the College of Fine Arts, University of New South Wales. Founded by artist Chi Da Kim, AFY included 32 members representing more than 20 countries, creating a diverse and international creative environment. That year, the group held two exhibitions in Sydney. The first, All For You, took place at Global Gallery in Surry Hills in July 2011. The second exhibition, Transcendency, was held at the Arthouse Hotel in Sydney CBD. These exhibitions marked an important stage in my early exhibition practice in Australia and my engagement with the local contemporary art community.

“Jewellery ”

My journey with jewellery began in 2008, after a workshop in Kyiv sparked my curiosity about working on a small, intimate scale. What started as experimentation soon grew into a deeper fascination with adornment as both object and cultural expression. My interest truly ignited while curating a fashion show of traditional Ukrainian clothing. Immersing myself in the richness of these garments led me to closely study traditional Ukrainian multi-row jewellery — its structure, symbolism, rhythm, and presence. These pieces are more than decoration; they carry history, identity, and a strong visual language. Since then, I have created hundreds of jewellery pieces, each one informed by that tradition while shaped through my own contemporary sensibility. Working at this scale allows for precision, repetition, and variation — a dialogue between heritage and personal expression. Jewellery, for me, is another way of telling stories through form and material — wearable, tactile, and closely connected to the body.

“Puppets”

Every so often, a commission opens the door to an entirely new way of thinking. One such moment came when a client asked for something unexpected — a lightweight, sculptural object in the form of puppets. Creating puppets became an unusual and exciting way for me to explore my creativity. They sit somewhere between sculpture, design, and storytelling. Unlike painting, where the surface holds the narrative, puppets demand attention to volume, balance, texture, and movement. Even at rest, they suggest gesture, character, and presence. Working on these pieces allowed me to think beyond the wall and the frame, translating artistic ideas into tactile, three-dimensional forms. Each puppet became a small character — playful, expressive, and full of personality. This unexpected direction reminded me how important it is to stay open as an artist. New materials, new formats, and new requests can lead to discoveries that expand both practice and imagination — sometimes in the most surprising ways.

“Art Voyages — Learning Through Materials”

Knowing your tools deeply — how they behave, how they age, how they respond to light and heat — changes the way you work and the confidence with which you make decisions. During my time at Azur Studio in Kyiv, we took part in a number of art trips across Europe, visiting paint and medium manufacturers directly. These experiences were invaluable. Being able to ask questions about materials from the people who created them — the chemists, designers, and technicians behind the products — gave us insights no manual or catalogue ever could. Who could know the materials better than those who developed them? Along the way, we also participated in workshops with local designers who introduced us to the full potential of different gels and pastes, transparent and opaque paints, and specialised products for textile decoration and pseudo stained glass. We explored techniques for creating patina, working with gilding, and layering surfaces in ways that expanded both technical knowledge and creative possibility. I often find myself missing those times — being surrounded by like-minded professionals, travelling, learning, experimenting, and talking endlessly about what we loved most: paint, surface, and decoration. Those journeys shaped not only my technical approach, but also my respect for materials as active partners in the creative process.

“Petrykivka - Ukrainian folk painting style”

A Living Language of Colour. Petrykivka is a vibrant Ukrainian folk art style that originated in the village of Petrykivka. It is known for its intricate floral, natural, and animal motifs, traditionally painted on white backgrounds. These compositions symbolise harmony, life, and protection, and for generations have been used to decorate homes, everyday objects, and communal spaces. Today, Petrykivka is recognised by UNESCO as Intangible Cultural Heritage, acknowledging its role in preserving cultural identity through decorative painting. This tradition has always been close to my heart. What distinguishes Petrykivka from other painting styles is the way it is created — everything is built from expressive brushstrokes that feel like footprints left by different brushes and tools, sometimes even fingertip marks. Each stroke is visible, intentional, and alive, forming complex patterns through simple gestures. Petrykivka is also unapologetically colourful, ornate, and joyful. Its energy comes from abundance rather than restraint, from movement rather than symmetry. These qualities resonate deeply with me. They speak of celebration, optimism, and a connection to nature that feels both playful and profound. For me, Petrykivka is more than a decorative style. It is a visual language that carries memory, emotion, and identity — one that continues to inspire my work and reminds me of the power of colour, rhythm, and hand-made marks to tell stories across time and place.

“Textile & Clothing Decoration”

Textile & Clothing Decoration — Wearable Statements. Working with textiles and clothing gives me a sense of freedom that few other mediums offer. It opens up the possibility to create one-of-a-kind pieces — garments that carry individuality, intention, and personality. Through colour, pattern, and detail, clothing becomes a way to shape an individual style, highlight accents, and, just as importantly, draw attention away from areas you’d rather keep understated. Individually decorated clothes are statements. They speak about who you are — your boldness or softness, your playfulness or restraint, and what truly matters to you. A painted jacket, dress, or pair of jeans can express confidence, curiosity, or a quiet sense of joy without saying a word. I create textile and clothing designs using high-quality acrylic paints that are washable, durable, and resistant to sunlight, allowing the artwork to be worn and enjoyed over time. Decoration can also be practical: a favourite jacket with an unremovable stain can be transformed into something even more loved. Bring me your old dress, jacket, or jeans, and we can make it new again. One of my clients spent his entire working life in neutral, formal suits. After retiring, he discovered the pleasure of colour — and his decorated jeans became a joyful declaration: I am ready for all the colours of the world. If you’re looking for a statement piece in your wardrobe — or a creative way to reimagine something you already own — I’d love to help you create it.

“Furniture decor”

Furniture Decoration — Art You Can Live With. Working with furniture brings me a particular kind of joy. Three-dimensional objects are experienced from all sides, revealing a different picture as you move around them. There is something deeply satisfying about applying art to forms that are not only observed, but used and lived with every day. Chairs, tables, cabinets, and screens become surfaces where colour, texture, and form extend beyond the wall. Decorated furniture has the power to anchor a room. It can become a focal point, decisively unify a colour palette, or bring cohesion to an interior style. When art moves into functional objects, it becomes part of daily rituals, adding character and warmth to everyday moments. The process becomes even more meaningful when an old piece is given a second life. Repairing, recolouring, redesigning, reimagining, and reusing transforms something forgotten into something personal and renewed. Furniture decoration is, for me, a way of combining creativity with care — honouring what already exists while shaping it into something fresh, purposeful, and full of story.

“Mosaics”

Mosaic has always fascinated me for its quiet complexity. There is something magical in planning to deconstruct a design into small pieces, only to assemble it again into a new whole. Each fragment carries its own presence, yet only truly comes alive in relationship to the others. Our eye moves naturally along the lines between the pieces, enjoying the rhythm of separation as much as the image they form together. We see the individual elements, the design they create collectively, and the spaces in between — all at once. That simultaneous experience is what makes mosaic so compelling to me: multifaceted, layered, and endlessly engaging. Beyond its visual richness, mosaic surfaces are also wonderfully practical. They are not afraid of a hot cup, a wet glass, a scratch, or a spill. This combination of beauty and durability is what makes mosaic especially appealing to me — art that can be lived with, touched, and used every day.

“Pseudo Stained Glass: Light, Colour, and Storytelling in the Interior”

Pseudo stained glass is a refined decorative art technique that transforms doors, windows, and interior objects into luminous design features. Created with special transparent paints, this approach allows light to pass through the surface, filling the room with colour and creating a soft, fairytale-like atmosphere within the interior. When daylight moves through the painted surface, the colours come alive, subtly shifting throughout the day and enhancing the emotional quality of the space. One of the key advantages of pseudo stained glass is its ability to match and enhance the existing interior style. From soft, minimal colour schemes to more expressive, ornamental designs, each piece is created in dialogue with the architecture, materials, and colour palette of the room. The artwork becomes an integrated part of the interior rather than a separate decorative element. Pseudo stained glass works beautifully as an accent feature or as a focal point, adding depth, warmth, and a sense of wonder. It is particularly effective in spaces where natural light plays an important role, turning everyday architectural elements into sources of colour and atmosphere.

“Interior Murals”

Murals are a powerful way to transform an interior, creating an immediate emotional response and a strong sense of place. Whether subtle and atmospheric or bold and expressive, a mural can change the mood of a room instantly, making it feel more connected, considered, and complete. As a Sydney-based artist and designer, I specialise in creating custom interior murals that integrate seamlessly with residential and commercial spaces. Unlike external murals, interior murals become part of daily life — interacting with natural light, architecture, furniture, and textures. A well-designed mural unites colours, materials, and styles, acting as a visual anchor for the entire interior. I work exclusively with professional, art-quality acrylic paints, chosen for their durability, colour stability, and practicality. Acrylic paint is washable and long-lasting, making it ideal for interiors where both beauty and functionality matter. With correct surface preparation and finishing, an interior mural remains vibrant and resilient for many years. Finish plays a crucial role in the final result. When working with acrylics, it is important not to mix matte and glossy surfaces unintentionally, as this can disrupt the visual harmony of the artwork. A consistent finish ensures the mural reads as a cohesive piece rather than fragmented elements reflecting light differently. An interior mural is often the final design layer — the element that brings everything together. It can soften a minimalist space, add depth to neutral interiors, or create a quiet focal point that enhances the character of a room. Thoughtfully created, a mural does not overpower an interior; it completes it. If you are looking for a custom mural artist in Sydney to create a unique, site-specific artwork for your interior, I welcome collaborations with homeowners, interior designers, architects, and commercial clients.

“The Versatility of Acrylics”

The fast-drying nature of acrylic paints brings an entirely different kind of energy to my practice. They provide immediate results and encourage a spontaneous, expressive approach that keeps the process fresh and dynamic. What I love most about acrylics is their incredible versatility. They can be used on canvas, paper, or wood — opening endless creative possibilities for experimentation. Over the years, I’ve come to appreciate many of their qualities: Versatility – suitable for almost any surface. Quick drying – perfect for working in layers or capturing fast-changing ideas. Water-soluble – easy to clean and manipulate. Layering and texture – ideal for building depth and tactile interest.

“The Classical Beauty of Oil Painting”

My journey with oil painting began in year 7, when I was studying at the State Secondary Art School in Kyiv, Ukraine — a highly selective school that required passing three entrance exams in painting, drawing, and composition. It was there that we transitioned from watercolours and gouache to the timeless medium of oils. I’ve always loved this classical medium. Oils have a long and rich tradition in fine art, and I’ve admired their depth, luminosity, and the way colours blend so seamlessly on the canvas. Working with oils teaches patience and reflection — they dry slowly, giving time to build layers with care and intention. I feel incredibly fortunate to have received proper academic training in the classical use of oils, alongside in-depth knowledge of anatomy, linear perspective, perception principles, and art history. That foundation continues to shape how I see and create today, allowing me to appreciate not only the technique but also the discipline and history behind every brushstroke.

“A Lifelong Journey with Watercolour”

In the fifth grade, I first tried watercolour painting—and it instantly became a source of immense joy. The way the pigments danced and blended on paper felt like magic. I discovered that watercolours have a mind of their own: their fluidity and unpredictability invite collaboration rather than control. Over the years, this dialogue between brush, water, and pigment has stayed with me. Every time I pick up a watercolour brush, I’m reminded of that first spark of discovery in year 5—the joy of watching colours flow freely, forming something beautiful and unexpected. My journey with art didn’t stop there. I’ve dedicated my entire life to studying and working with various materials—acrylics, oils, texture pastes, and more—each offering its own challenges and rewards. Yet watercolour remains my first love, the medium that taught me to trust the process and embrace the beauty of imperfection. Even today, that simple act of dipping the brush in water brings not only pigments to paper but also a flood of memories, a quiet sense of gratitude, and a profound satisfaction that has endured since those early school days.