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“НАШЕ ЖИТТЯ”, КВІТЕНЬ 2020 WWW. UNWLA.ORG 31 Br. 56 Presentation at Sarasota Embroidery Guild On February 24, 2020, UNWLA Branch 56 of Nor th Port, Florida, conducted a presentation on Ukrainian crafts, culture and traditions at the Sarasota Embroidery Guild, in Sarasota, Florida. Branch 56 members Irene Copie and Bohdana Puzyk directed the fun - fill ed and informative demonstration. Both women shared family stories, discussed the Ukrainian language and culture, demonstrated the art of making traditional Ukrainian Easter pysanky, and explored the meaning of various colors and symbols. The presenters ex plained that the derivation of the word pysa nky comes from the Ukrainian word “to write,” and that creating pysanky is an ancient art form dating back more than 1,000 years. They also explained and demonstrated the technique: Hot melted bee’s wax is applie d to cleaned, uncooked eggs with a stylus to create various designs. The eggs are then placed through a series of dye baths and repeated writing with melted wax until the desired result if achieved. Although the Guild was most interested in traditional Ukr ainian embroidery and methods, the presenter s’ knowledgeable demonstration invited attendees to come close and inspect these intricate art forms. Branch 56 Member Irene Copie demonstrating and explaining the art of making pysanky to members of the Sarasota Embroidery Guild. Branch 56 member Irene Copie displays traditional Ukrainian embroidery and other crafts. Members of the Sarasota Embroidery Guild inspect the embroi dery. Photographs by Bohdana Puzyk. Jacques Hnizdovsky’s Unknown Art by Orysia Nazar Zinycz I know that many of us, as well as many of our children, have Jacques Hnizdovsky’s art hanging on the walls of our houses, but few of us know that his art also lives in books. My fascination with Hnizdovsky ’s art began when I had the pleasure of teaching w ith the artist at the cultural camps at the UNA’s estate Soyuzivka during the 1970s. Hnizdovsky explained his art and technique; I held seminars about Ukrainian, Persian and Turkish rugs, their homogeneity and variances. The artist also showed several book s with his illust rations. As I acquired a list of books illustrated by Hnizdovsky for my personal library, I found they included poetry collections by Thomas Hardy, Samuel Taylor Coleridge, John Keats and Robert Frost as well as an interesting array of chi ldren’s stories, guidebooks, and even a novel or two. Among the more exotic works I discovered are Tree Trails of Central Park (1971), Signum Et Verbum (1981, translated from Estonian), The Violin of Monsieur Ingres (1983), and something called Behind the King’s Kitchen (1 992). Decades later, the allure has not diminished. Neither has my hope that art lovers will discover the artist’s illustrated books. They offer a double treat — great poems, novel information, magical animals, and, best of all, some of Hniz dovky’s art that can be found only in books.
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