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Girlfriends Club (UGC), I floated my disappear - ing “Field of Wheat” concept. Halyna Breslawec, whose parents suffered directly in the Holodomor, and the late Nadia Diuk, an incredibly strategic thinker, both nodded their heads in approval. They could engage with the concept that I described briefly without the benefit of visual images. A me - morial needs to communicate a message efficient - ly. Their immediate understanding and approval helped convince me of the concept’s strength. I worked feverishly during the next several weeks to prepare the required drawings and model. Sub - mission requirements included a written descrip- tion in Ukrainian. Two friends immediately offered their help: Bohdana Urbanovych, well versed in Ukrainian architectural terminology, and Oksana Sorokowski. As the deadline, Thanksgiving Day 2009, ap - proached, I began to plan the transport of my materials to Kyiv. Here again, the help of Ukrainian women was crucial. I realized too late that the timeframe offered by commercial shipping com- panies was too long, and came with the added possibility that my materials could be detained for days at the border. Even though I had other work projects, I began to consider flying to Kyiv with my submission. With a hint of desperation, I sent out an SOS not only to the DC chapter of the UGC, but to the girl - friends network worldwide. From Ukraine, the late Marta Kolomayets came to the rescue. Marta knew that Natalia Karbowska of the Ukrainian Women’s Fund was attending a conference in Washington, DC, and soon would be returning to Kyiv. Over dinner, I described my project to Natalia. A com- plete stranger to me – except for our mutual friend Marta – Natalia unhesitatingly agreed to help. On the day of Natalia’s departure, I drove her to the airport and walked her to the end of the security line. The image of Natalia carrying my bulky model box, three shopping bags, and a winter coat with - out complaint is seared into my memory. The next morning, I awoke to Natalia’s reassuring email that my project materials had been delivered safely. From Kyiv, Marta Kolomayets reported on the dis - play of 47 competition entries at Ukraine House. I was among the five finalists announced by an inter - national jury. The announcement came just before the end of President Yushchenko’s term. And some- what ambiguously, the jury stipulated that the final decision would be made “by the American side.” Then the project languished during the Yanukovych administration. Alla Rogers, a Washington, DC–based artist and gallery owner, was motivated to write a story describing the finalist projects and question- ing the status of the memorial selection process. The article, “Holodomor Memorial in Washington: A Progress Report,” was published in The Ukrainian Weekly on December 5, 2010, then translated into Ukrainian for publication in Svoboda . Responding to pressure, the Embassy of Ukraine in Washington jump-started the final selection process in 2011. In consultation with various federal and municipal review agencies, the five final designs were whittled down to two, and then to one – mine. I was thrilled and deeply gratified. However, now the hard process of actually making the memorial began. Many times during this phase, Irene Jarosewich, my life-long Ukrainian School and Plast buddy, was there for me, whether to offer advice about navigating the politics of the process, helping track Seventh grade class, Taras Shevchenko School of Ukrainian Studies, Washington, DC (1969). Back row, standing: Varvava Dibert; back row, seated, center: Irene Jarosewich; front row, left: Larysa Kurylas. Continues on page 22 ... Our Life | Наше життя November | Листопад 2020 21
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