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“НАШЕ ЖИТТЯ”, ЛЮТИЙ 2015 WWW.UNWLA.ORG 7 went to a Ukrainian school on Saturdays. Today I am a member of the UNWLA (Branches 56 and 136). Ukraine is a large part of my identity. I am an American, but I also know that Ukraine is my soul. In the 1990s I visited Ukraine: I taught there and saw where our people have been. Things that happen in Ukraine are very meaning- ful to me. In particular, stories of the Holodomor had a huge impact on me. When I created that series of paintings, I did extensive research. I read The Holodomor Reader by Professors Alexander Motyl and Bohdan Klid, as well as A Candle in Remembrance , translated into English and pub- lished by the UNWLA. The stories of survivors were so poignant! In the Holodomor series I made an effort to incorporate materials that peo- ple were forced to eat in order to survive, such as dirt, leaves, and berries. Over the years I have met so many Ukrainians whose family members were killed. Most recently, I also lost an old friend with whom I grew up in this country—a man named Marki- yan Paslawsky. In his younger years, Markiyan had served and risen in the ranks of the United States military. Even before Euromaidan erupted, he had returned to Ukraine. He joined the volun- teer Ukrainian forces and was killed in the east, in the battle of Ilovaysk—shot by a coward. So I am sensitive to what is going on in Ukraine, its many past and present painful events. My art communicates a sense of tragedies such as these. And maintaining this awareness of our heritage and history—in our language, art, culture, studies, parenting— prevents those who would extinguish Ukraine from ever succeeding. You are a member of the National Associa- tion of Women Artists. Could you please explain the significance of this organiza- tion in the world of art? It is the oldest organization of female art- ists in the United States, and all of its members are juried. In other words, your portfolio is re- viewed by a panel before induction. Among its ranks were artists such as Mary Cassatt and Louise Nevelson. I participated in a gallery exhi- bition in New York City, and won the top award for acrylic painting. The award was presented by one of the Association’s past vice presidents, Faith Ringgold, a legendary contemporary African- American visual artist. It was an honor for me. The purpose of this organization is to promote the work of major female artists, and I am a member of the Association’s Florida chapter. This chapter recently organized a group exhibi- tion celebrating the Association’s 125th anniver- sary, and two of my pieces— Maidan and Tomoka Trail —were included in this show at the Armory Art Center in West Palm Beach. Another is com- ing up in Washington, DC. Congratulations on this honor! I under- stand that the process of selecting works for such an exhibition is quite complex? The events are juried and judged, usually by a professional curator, professor, or gallerist. For example, my art will also be included in another exhibition, National Art Encounter , at Naples’ von Liebig Center, opening in March. That show received almost 400 applications from around the United States, but only 37 artists were accepted. My work Broward 8-14 was accepted, and the juror was Dr. Carol Damian, who is a pro- fessor of art and art history and past curator of the Patricia and Phillip Frost Art Museum in Mi- ami. For people who are just starting out, it can be a little discouraging. I have tried not to take rejection personally. I realize that not all art is going to appeal to everyone. Even members of my own family, including my own husband, might not like everything I produce. And that is fine. Recently you have also received a fellow- ship in an art residency program at the Virginia Center for the Creative Arts. Could you describe what this program en- tails and what you are planning to accom- plish while there? Residency programs are competitive: art- ists are competing against many other very tal- ented artists who probably deserve to be there. Often program directors bring in outside jurors as panelists. In my work, I am highly influenced by my environment. Right now I happen to live in a place that is beautiful most of the year: it is warm and pleasant, and invites you to venture outdoors. We have a boat and often spend time on the wa- ter. When I was younger, I was an avid scuba div- er, and many of those experiences find their way into the art that I am creating. During this resi- dency, I am hoping not just to continue this dia- logue with the environment (and I will be living in the foothills of the Smokey Mountains), but also to explore it in a three-dimensional way. I have been tempted to do this for a long time.
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