Ukrainian postmodernist Olena Bu Shdid: My painting 'Temporary Truce' were exhibited in Washington as part of the project about russia's crimes 'We know who they are...'

Olena Bu Shdid is a Ukrainian postmodernist artist who seeks to preserve Ukrainian identity through her art and shed light on russia's war against Ukraine in her paintings. Her series "Our People", "Tree of Life", and "Traditions and Taste" are among Olena's most powerful works. The artist shared with Drive Music Media the story of how her creative journey began, the role of art in russia's war against Ukraine, and her painting series "Our People".

Interviewer: You have an interesting series of paintings featuring prominent Ukrainian artists, musicians, and actors. Could you tell us how the idea for the "Our People" series came about? What is its main message? How did you choose the people to paint — were they any notable Ukrainian figures, or only those whose work resonated deeply with you?

Olena: The war began. Tragedy entered every home. I am fortunate to possess the visual language of art. I have to do this not only because it heals me... but because I truly feel the need to express myself. This is my mission. That’s how I feel about it. This is our time. We, right now, in this country. It may sound pretentious, but everything in us right now is exaggerated, a bit too much. The joy when you wake up alive and healthy, the relief when you don't hear sirens all day, the incredible ease when you receive a message from a loved one at the front, the anger when that damned air raid siren goes off… all these emotions are so intense, emotions we’ve never felt before, they’re just too strong. And this is not just my personal experience. The tension is at the level of the whole country... you can feel it in the air. Earlier, I was more focused on perfecting my professional skills. That’s normal, and that path is necessary too.

But today, as an artist, I began asking myself different questions: Who am I as an artist? What do I want to say with my works? Different meanings, deeper, more significant ones.

There was a growing need to explore the visual manifestations of Ukrainian identity and incorporate these elements into my paintings. The "Our People" series captured me right away. The idea came when I began reading the biographies of outstanding Ukrainian figures, and I was overwhelmed with pride. I’m proud to be part of this people. Some of them we studied in school, others we’ve heard about... Each painting in the series is dedicated to a particular person who left an invaluable legacy. If you look closely, you’ll see texts written into the multi-layered canvas. The hardest part was choosing just one quote for each of them. The "Our People" series is about Ukrainians you all know, remember, and are proud of. It’s a reminder of them – brave, talented, daring... Choosing the figures wasn’t difficult. What’s harder is not being able to feature everyone I’d like to.

Interviewer: Tell us about your artistic style. Your works always feature ethnic elements combined with modernity. How did you find your style? Why focus on national themes?

Olena: My artistic style developed gradually through trials, experiments with different materials, and the search for my visual language. Every artist goes through this journey: first, finding their medium, honing technique, and mastering their craft. Then, you start asking yourself other questions: Who am I? What do I want to say as an artist? National themes have always been a leitmotif in my work, one way or another. Initially, it was about research, diving into the material. Simultaneously, my search for materials led to a specific technique – layers of different textures, colors, fonts, and ornaments. I create a complex pictorial space that invites the viewer to immerse themselves in the worlds I invent. Gradually, national motifs organically wove into these layers. I work in the styles of postmodernism, symbolism, and letterism. And this is how I began to speak to the world in my own visual language.

Interviewer: One of your earliest series of paintings is "Immersion". Could you tell us about this series and what inspired it?

Olena: My early series "Immersion" marked the beginning of my return to art after a long break. The trigger was a traumatic event in my life. It was an armed robbery, a direct threat to my life. Lying tied up on the cold floor, feeling the harsh jab of a weapon between my shoulder blades, I had mentally said goodbye to life. This situation changed my life. The realization that I could be here today and gone tomorrow forces you to rethink your priorities. I survived. I felt the need to fill my life with meaning. Art became my therapy. I felt that I was finally doing something truly important. I started with the "Immersion" series. It was an immersion into myself, a search for hidden fears and a path to healing. And later, when the war began, I wasn’t afraid. I no longer fear death. I’ve already faced it. Now, I just want to accomplish as much as I can with the time I have.

Interviewer: When the full-scale war began, you started keeping a War Diary. One of your earliest works on this theme is a sketch of a girl standing inside a destroyed building. Could you tell us when you drew this picture? What were you feeling at that moment?

Olena: At the beginning of the war, my cousin was killed defending Chernihiv. It knocked the ground out from under me. That’s when I started keeping a diary. It’s harder for me to put my thoughts into words than to express them through visual language. So, I simply counted the days. Each page represents one day. I stopped keeping the diary on Easter. It was a conscious decision – to stop suffering. Later, some drawings from the pages of my war diary became sketches for paintings.

Interviewer: The image of the motanka doll often appears in your works. Why this symbol? What does it mean to you? In your Chronicles of War, for example, you depicted motankas with wings, hinting that they are like angels.

Olena: The image of the motanka (ed. – a Ukrainian traditional doll), to me, is very expressive. There is something magical about it. It’s a doll, a child, a mother, and an angel all at once. It has no face. It can be joyful, sad, or indifferent. When you look at it, you imbue it with your own traits, thoughts, mood, and soul. Its face is like a mirror.

Interviewer: One of your paintings from the "Tree of Life" series was exhibited in the Netherlands. Could you tell us about this painting and the exhibition? What is your "Tree of Life" series about?

Olena: All the paintings in the "Tree of Life" series are protective talismans, containing the strength and wisdom of previous generations – our roots. They are like distant memories of what is hidden within us. Now is the time to remember. Each flower represents the diversity of the stages of human life. The ripe fruits symbolize the outcomes of human deeds and accomplishments, while the buds represent future generations. The Tree of Life is an ancient Ukrainian symbol that reflects a wide spectrum of human existence – from the structure of the universe and familial lineage to the essence of life as a battlefield between good and evil.

Last summer, three paintings from this series were sent to an exhibition in the Netherlands. All three remained there. One of them is now in the lobby of the town hall in Beek en Donk, while the other two are in private collections.

Interviewer: One of your series on national themes is "Traditions and Taste." You mentioned that this series is not about food, but about feelings. Could you tell us what inspired the creation of this series of paintings? In your works, it seems you preserved the memories of Ukrainian children from the early 2000s. Was this one of your ideas?

Olena: Exactly! The "Traditions and Taste" series is not about food... it's more about feelings and emotions. I remember being taken to my grandmother's village for the whole summer during my childhood. What do I feel when I think back to that time? It was a vibrant, sun-filled life of carefree joy and lightness from June to September. Memories overlap like a kaleidoscope... there I am, sitting at the very top of a cherry tree, the whole village seemingly in the palm of my hand. My breath catches from both fear and beauty. I pluck ripe berries with sticky fingers, eating a third of them right on the tree. A wasp buzzes by my ear... Uncle Ivan is somewhere below, laughing loudly while talking to his dog. As I immerse myself in those memories, I feel the aromas of cherries and see my grandmother's hands in flour, rolling out soft dough... and those pierogi! Some are already cooking, while others wait on the board for their turn... those aromas drive me wild! And that taste!!! It's impossible to relive it because it’s not just about the taste; the context is what matters more. This is just one example. Each of us has countless memories like this, that warm our hearts and make our mouths water. You understand what I mean. Each painting in the series is precisely about this – about the memories and emotions that I tried to visualize.

Interviewer: Could you tell us about the project "Concentration of Will"? You participated in the exhibition with your painting "Beetles..." Can you describe the painting? When and how did you find out that your painting was selected?

Olena: My diptych "Beetles" was selected by the curators of the "Concentration of Will" project, which made me incredibly happy. Many strong and interesting works were gathered in this project, and my Beetles are among them! How cool is that? By the way, this is one of my favorite paintings from the "Tree of Life" series. The tree itself symbolizes the stages of human life. You can also see the life cycles of the beetles (the ones buzzing around the cherries). From a larva to a creature underground, it’s depicted next to a pot/root, representing the afterlife and our deceased ancestors. The beetles flying around the canopy symbolize the current generation and the future/children. The background of the painting features colors of rust, dust, ash, and dried blood, where you can discern the text of the well-known poem by Taras Shevchenko, "The Cherry Orchard by the House", images of women in national costumes, and even a schematic depiction of a gun sight. So, it all speaks to the cyclical nature of life, suffering, the horrors of war, history, and memories of our ancestors.

Interviewer: What projects are you currently working on? Do you have any ideas for your next series of paintings? If you can share, please tell our readers.

Olena: Right now, I’m at a turning point in my life. It’s a change in both my personal life and my country of residence... a new stage. Almost everything is starting from scratch. I’m currently searching for a new studio. I plan to work on and finish some of my existing series. However, I feel that such significant changes in my life are a catalyst for new creative ideas! And I really like that. I already have some concepts, but they’re not fully formed yet. This is my favorite state – while I’m nurturing, exploring, and gathering materials... And once I start, it’s like breaking through a dam! By the way, I’m looking forward to the powerful project in Washington, "We Know Who They Are..." about the crimes of russia. My painting "Temporary Ceasefire" will also be featured there. I’m excited. The world needs to see this. I’m very grateful to the organizers and curators who continue to shed light on this difficult topic.

Interivewer: What word personally associates with your art? Why that word?

Olena: It’s hard for me to pinpoint a specific word because I’m always in search. The visual language, style, and materials I’ve found now are not the final choices. New ideas and series encourage experimentation. But I can definitely say that the national theme doesn’t let me go. There will be a deepening. It’s important for me to show that Ukrainian style is much richer and more interesting than just landscapes with cottages, lard, and trousers. We have an extraordinarily rich historical and cultural heritage. It can't just be buried. I'm very pleased that Ukrainian art is becoming recognizable, contemporary, and continues to develop rapidly. And this is just the beginning.

The photos were taken from page of Olena Bu Shdid