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.
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.
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.
