VidLunnya
2011, collection
2011, collection
Pure and chaste feminine images radiating universal harmony and love became the inspiration for the VIdLunnia collection. Intricate sacred patterns, crafted by the artist, intertwine colors and geometric ornaments. The timeless forms of ancient attire take on new life:
The crowning glory of the collection lies in the headdresses, encircling a woman’s head like a protective charm. Entirely modern yet iconic, the neck jewelry (zgarada) creates a striking dissonance with femininity and sensuality. The footwear, ranging from linen heels to flat silk-ribboned woven slippers, completes the ethereal ensemble.
- Short minimalist dresses with graphic elements, echoing the whims of modern fashion.
- Bright jacquard vests, reminiscent of grandmother’s bodices, yet made from contemporary fabrics soft to the touch.
- Graphic symbols in apron-like designs, harmonizing the surrounding space.
- Elegant long dresses, adorned with sacred ornaments, stirring vibrant hues in motion.
The crowning glory of the collection lies in the headdresses, encircling a woman’s head like a protective charm. Entirely modern yet iconic, the neck jewelry (zgarada) creates a striking dissonance with femininity and sensuality. The footwear, ranging from linen heels to flat silk-ribboned woven slippers, completes the ethereal ensemble.
Black accessories
2010
Collection idea - black:
in color - infinite depth
in sound - silence
in action - completeness
in the invisible - mystery
As a symbol of wearing:
"on" - beauty and protection
"in" - inner strength
"under" - secret
Next to black we become brighter...
Lighter...
On March 25, 2012, the new Blackessories accessories collection was presented at The Icon concept store as part of the main program of the Mercedes-Benz Kiev Fashion Days project.
in color - infinite depth
in sound - silence
in action - completeness
in the invisible - mystery
As a symbol of wearing:
"on" - beauty and protection
"in" - inner strength
"under" - secret
Next to black we become brighter...
Lighter...
On March 25, 2012, the new Blackessories accessories collection was presented at The Icon concept store as part of the main program of the Mercedes-Benz Kiev Fashion Days project.
Cosmic egg
2011, collection
The project was unveiled at the International Week of Contemporary Art Cosmic Odyssey 2011.
The Cosmic Egg installation represents a profound reimagining of the egg archetype, offering a fresh illustration of the sacred myth of the universe’s creation from an egg. The installation consists of two parts, symbolizing the two spheres that emerge when the egg splits, thus forming the Sky and the Earth, the Upper and Lower worlds. Many of the ornaments adorning the piece are associated with the divine female archetype—the mother goddess.
Special effects within the egg allow viewers to immerse themselves in the concept of the installation—an exploration of inner cosmos. The movements of a person between the two halves influence the intensity of the lighting and the "richness" of the sound emanating from a theremin, an electronic musical instrument housed within. This interplay of interactivity and synchronization of motion with light and sound subtly guides the audience towards self-discovery on a subconscious level.
The Cosmic Egg installation represents a profound reimagining of the egg archetype, offering a fresh illustration of the sacred myth of the universe’s creation from an egg. The installation consists of two parts, symbolizing the two spheres that emerge when the egg splits, thus forming the Sky and the Earth, the Upper and Lower worlds. Many of the ornaments adorning the piece are associated with the divine female archetype—the mother goddess.
Special effects within the egg allow viewers to immerse themselves in the concept of the installation—an exploration of inner cosmos. The movements of a person between the two halves influence the intensity of the lighting and the "richness" of the sound emanating from a theremin, an electronic musical instrument housed within. This interplay of interactivity and synchronization of motion with light and sound subtly guides the audience towards self-discovery on a subconscious level.
She
2011, performance
2011, performance
The sound of spring water flowing from pitchers held by young girls, warm felt boots, red beads on the girls' chests that highlight the gray tones of the Earth — all of this reflects the ethnic Ukrainian color combined with the artist's sense of modernity. The headgear of the models presents a new vision of the old, echoing the traditional way Ukrainian women from different regions wore scarves and shawls. The project also features the art installation "Felt Baba". Tall and made of wool, it symbolizes energetic centers. The project was presented at the concept store Atelier1 in December 2011. It was also showcased at Eurofashion-2012 in Kyiv and at Frankivsk Fashion Week Days.
CocooNed
2011, collections
The collection embodies the principle of "Cocoon," reimagining the archaic form of the egg not only through shape but also through a deeply symbolic and multidimensional variety of ornaments. Zinaida invites us to perceive and experience clothing as a tool of communication. It transcends the concept of a second skin, transforming into a second aura. Thus, the COCOONed collection appeals to the worldview of its audience.
Heart of birch
2011, performance
In ZINAIDA's prominent multimedia project "HEART OF BIRCH", which consists of an installation, fashion collection, performance and the videos "Heart of birch" and "Vessels of Life", the artist urges the public to protect the environment, saying "by destroying forests, we destroy not only nature, but ourselves. Let's take care of the trees with the same enthusiasm as we care for human life. Realising the significance of such an attitude to nature, we will not only preserve it, but preserve ourselves!"
The installation, comprising a birch trunk and organic plastic, is the central part of the project. In so doing, the artist appeals to Slavic mythology, according to which, the birch is a female symbol and a heart — considered as the container of the soul. In prints, made for the fashion line, which is an another part of the interdisciplinary and interlinking project, ZINAIDA recreates tree branches, leaf veins and the vessels of tree trunks, positing them as manifestations of the intrinsic coexistence of people and nature. The core component of the video "Vessels of Life" is the performance "Heart of Birch", in which ZINAIDA proposes to perceive the forest as one organism that breathes, lives and sensitively responds to trouble. In the video, the artist overlays the record of her performance "Heart of Birch" with news reports from 2020 addressing Ukrainian forest fires.
The video "Heart of birch" is symbiotic, stitching together fashion, art, and eco-activism. The audio component of the video takes the form of a song by Ukrainian ethnic singer Katya Chili. Video styling is by Julie Pelipas, Vogue Ukraine's Fashion Editor. The video "Heart of birch" functions as a launchpad in proposing continued implementation of the project in exhibitions.
The performance "Heart of Birch" has been presented within the framework of Mercedes-Benz Fashion Week (NSC Olimpiyskiy, Kyiv, Ukraine, 2011). The project "Vessels of Life" was shown on the leading Ukrainian TV channels in 2020 as a video accompanying ZINAIDA's artist manifesto.
The installation, comprising a birch trunk and organic plastic, is the central part of the project. In so doing, the artist appeals to Slavic mythology, according to which, the birch is a female symbol and a heart — considered as the container of the soul. In prints, made for the fashion line, which is an another part of the interdisciplinary and interlinking project, ZINAIDA recreates tree branches, leaf veins and the vessels of tree trunks, positing them as manifestations of the intrinsic coexistence of people and nature. The core component of the video "Vessels of Life" is the performance "Heart of Birch", in which ZINAIDA proposes to perceive the forest as one organism that breathes, lives and sensitively responds to trouble. In the video, the artist overlays the record of her performance "Heart of Birch" with news reports from 2020 addressing Ukrainian forest fires.
The video "Heart of birch" is symbiotic, stitching together fashion, art, and eco-activism. The audio component of the video takes the form of a song by Ukrainian ethnic singer Katya Chili. Video styling is by Julie Pelipas, Vogue Ukraine's Fashion Editor. The video "Heart of birch" functions as a launchpad in proposing continued implementation of the project in exhibitions.
The performance "Heart of Birch" has been presented within the framework of Mercedes-Benz Fashion Week (NSC Olimpiyskiy, Kyiv, Ukraine, 2011). The project "Vessels of Life" was shown on the leading Ukrainian TV channels in 2020 as a video accompanying ZINAIDA's artist manifesto.
Live in Kyiv
2011, collection
The streets of Kyiv came to life in the delicate lace of knitwear. ZINAIDA embodied their architectural beauty in a mini collection of dresses, transforming familiar urban landscapes into intimate, heartwarming patterns. Never before had the landscapes of Kyiv been so close and so personal.
SunLight
2011, Collection
The collection is a journey that fuses ethnic motifs, modern tailoring, natural materials and colors, hand embroidery, and mystical geometric elements. Its conceptual foundation lies in the mystical SLAVIC SYMBOLS and SACRED GEOMETRY. Aiming to harmonize women with the world around them, the designer predominantly employs natural hues—the colors of the elements: blue, red, gray, and black. This connection to nature is reflected in the choice of materials, favoring natural fabrics such as wool, cotton, and silk.
Ukrainian embroidery elements, beads, and headdresses paired with sacred motifs enrich the collection’s ethnic core. The long silhouettes of evening gowns, one of the season’s trends, balance feminine energy and highlight the graceful contours of the female form. The "Light of the Sun" collection embodies modern ethnic fashion in the rhythm of the city, allowing every woman to radiate warmth while moving through a harmonious symphony of COLOR, LINES, and RHYTHM.
“I meticulously studied the symbols in Ukrainian embroidery and concluded that if we modernize this knowledge, it will undoubtedly captivate the new generation,” Zinaida remarked. “It will become their talisman, a constant connection between the past, present, and future.
Ukrainian embroidery elements, beads, and headdresses paired with sacred motifs enrich the collection’s ethnic core. The long silhouettes of evening gowns, one of the season’s trends, balance feminine energy and highlight the graceful contours of the female form. The "Light of the Sun" collection embodies modern ethnic fashion in the rhythm of the city, allowing every woman to radiate warmth while moving through a harmonious symphony of COLOR, LINES, and RHYTHM.
“I meticulously studied the symbols in Ukrainian embroidery and concluded that if we modernize this knowledge, it will undoubtedly captivate the new generation,” Zinaida remarked. “It will become their talisman, a constant connection between the past, present, and future.
Impersonalisation
2012, Sculpture
On Maundy Thursday, there is an ancient tradition steeped in profound ideas and symbolism: decorating chicken, and sometimes goose, eggs. These adorned eggs are exchanged during the holiday and kept as powerful talismans, magical amulets, and materialized prayers.
The ornament chosen by the artist to embellish her living egg is both ancient and deeply informative. It symbolizes the foundations of life, incorporating shapes such as diamonds, squares, and hexagrams. Each angle bears its own meaning, dedicated to the Sun, Moon, stars, water, air, family, birth, prosperity, fertile land, sowing, growth, harvest, gardens, apiaries, and livestock abundance.
Triangles hold a special place: an upward triangle represents the masculine principle—spirituality and creativity—while a downward triangle symbolizes the feminine principle—wisdom and care. Combined in diamonds, squares, or hexagons, they embody the process of creation, completeness, and the preservation of the world's fertility. The design also includes a cross, representing the four elements—earth, water, air, and fire—as well as the Christian faith.
This ornament, meticulously inscribed on the egg, concentrates a prayer for the fulfillment of forty wishes. Yet the artist's creation does not provide a definitive answer. It encourages the viewer to ponder: is the world crumbling, or is it being reborn? The prayers embedded in such a magical, omnipotent, yet fragile and delicate natural phenomenon as an egg leave room for reflection.
The ornament chosen by the artist to embellish her living egg is both ancient and deeply informative. It symbolizes the foundations of life, incorporating shapes such as diamonds, squares, and hexagrams. Each angle bears its own meaning, dedicated to the Sun, Moon, stars, water, air, family, birth, prosperity, fertile land, sowing, growth, harvest, gardens, apiaries, and livestock abundance.
Triangles hold a special place: an upward triangle represents the masculine principle—spirituality and creativity—while a downward triangle symbolizes the feminine principle—wisdom and care. Combined in diamonds, squares, or hexagons, they embody the process of creation, completeness, and the preservation of the world's fertility. The design also includes a cross, representing the four elements—earth, water, air, and fire—as well as the Christian faith.
This ornament, meticulously inscribed on the egg, concentrates a prayer for the fulfillment of forty wishes. Yet the artist's creation does not provide a definitive answer. It encourages the viewer to ponder: is the world crumbling, or is it being reborn? The prayers embedded in such a magical, omnipotent, yet fragile and delicate natural phenomenon as an egg leave room for reflection.
Love & Creation
2012, installation
Love
Every cube symbolizes certain entity which varies from each other in its content: density, texture, quality and origin. e nature of the cubes is as di erent as human beings, ora and fauna, weather and seasons of the year. But despite of the discrepancy which exists in the world, there is integrity and harmony between its elements for love amazingly unites everything.
Every cube symbolizes certain entity which varies from each other in its content: density, texture, quality and origin. e nature of the cubes is as di erent as human beings, ora and fauna, weather and seasons of the year. But despite of the discrepancy which exists in the world, there is integrity and harmony between its elements for love amazingly unites everything.
Love
Creation
Sculpture symbolically re ects the stages of a human intrauterine development and an egg at the top of it incarnates future birth. Every cube is painted in a color that corresponds to a particular color the human being gets in the process of intrauterine development. The pigment is being lled with its color the in the same way as our desires are being lled with energy. Here are 9 cubes, 9 stages of physical human development which are hidden in real life from the eyes of others. 9 is a sacral number. But this period of 9 months is the time of birth of our thoughts and ideas as well as their development and materialization.
Sculpture symbolically re ects the stages of a human intrauterine development and an egg at the top of it incarnates future birth. Every cube is painted in a color that corresponds to a particular color the human being gets in the process of intrauterine development. The pigment is being lled with its color the in the same way as our desires are being lled with energy. Here are 9 cubes, 9 stages of physical human development which are hidden in real life from the eyes of others. 9 is a sacral number. But this period of 9 months is the time of birth of our thoughts and ideas as well as their development and materialization.
Creation
Transformation
2012-2019, video installation
Circulation in the Universe, the Flow of Time, and the Search for the Essence of Being
The circulation of the Universe, the fluidity of time, and the quest to understand existence are among the most profound and abstract concepts humanity has contemplated throughout its evolution. Questions about transformation within (and of) the Universe hold a central place in every individual’s worldview. It is no surprise that humans have sought answers to these questions for millennia. These answers, proposed, embraced, and repeatedly reinterpreted, occupy a prominent place in the doctrines and theories of different historical eras.
In most spiritual and philosophical systems, humanity perceives the meaning of existence as a process of transitioning the physical shell from one state to another through numerous physical, spiritual, and emotional phases during earthly life. In the video "TRANSFORMATION", Zinaida vividly and multifacetedly portrays life’s transitions between manifestations, encouraging viewers to reflect on eternal questions of existence.
Life is an eternal stream. It has a beginning, but does it have an end? Humanity birthed the enigma: life begets the mortal, and the mortal begets the living. This question emerges as the image of the source of life in the Universe—the egg, an eternal symbol of transformation. Life flows like water in a river, but does death have meaning? Does it not, in its inevitability, grant new life again and again? Darkness approaches, creating and arriving, and light, birthing and scattering new lives across the world—black and white substances... Like a heart dripping crimson, red pulses with the vital energies of life between birth and death.
Life is perpetual motion, now and forever. Its philosophical comprehension unfolds through black and white, united by the dynamic presence of red. The colors of transformation rituals—black, white, and red—continue one another but never repeat. These three colors represent three contrasting feminine archetypes, transforming into artistic attire. The purity of white, the austerity of black, and the passion of red form a trinity of meanings that signify beginnings and endings.
Text by Ruslan Prorva
The project was showcased as part of the parallel program of the First Kyiv International Biennale of Contemporary Art ARSENALE 2012 (M17 Center of Contemporary Art, Kyiv, Ukraine, 2012) and at PULSE Contemporary Art Fair (Metropolitan Pavilion, New York, USA, 2013), at CutLog Contemporary Art Forum (Paris, France, 2013), and at the International Art Fair Art Copenhagen (Copenhagen, Denmark, 2013).
The circulation of the Universe, the fluidity of time, and the quest to understand existence are among the most profound and abstract concepts humanity has contemplated throughout its evolution. Questions about transformation within (and of) the Universe hold a central place in every individual’s worldview. It is no surprise that humans have sought answers to these questions for millennia. These answers, proposed, embraced, and repeatedly reinterpreted, occupy a prominent place in the doctrines and theories of different historical eras.
In most spiritual and philosophical systems, humanity perceives the meaning of existence as a process of transitioning the physical shell from one state to another through numerous physical, spiritual, and emotional phases during earthly life. In the video "TRANSFORMATION", Zinaida vividly and multifacetedly portrays life’s transitions between manifestations, encouraging viewers to reflect on eternal questions of existence.
Life is an eternal stream. It has a beginning, but does it have an end? Humanity birthed the enigma: life begets the mortal, and the mortal begets the living. This question emerges as the image of the source of life in the Universe—the egg, an eternal symbol of transformation. Life flows like water in a river, but does death have meaning? Does it not, in its inevitability, grant new life again and again? Darkness approaches, creating and arriving, and light, birthing and scattering new lives across the world—black and white substances... Like a heart dripping crimson, red pulses with the vital energies of life between birth and death.
Life is perpetual motion, now and forever. Its philosophical comprehension unfolds through black and white, united by the dynamic presence of red. The colors of transformation rituals—black, white, and red—continue one another but never repeat. These three colors represent three contrasting feminine archetypes, transforming into artistic attire. The purity of white, the austerity of black, and the passion of red form a trinity of meanings that signify beginnings and endings.
Text by Ruslan Prorva
The project was showcased as part of the parallel program of the First Kyiv International Biennale of Contemporary Art ARSENALE 2012 (M17 Center of Contemporary Art, Kyiv, Ukraine, 2012) and at PULSE Contemporary Art Fair (Metropolitan Pavilion, New York, USA, 2013), at CutLog Contemporary Art Forum (Paris, France, 2013), and at the International Art Fair Art Copenhagen (Copenhagen, Denmark, 2013).
Braganza Collaboration
2012, fashion collection
On September 14, 2012, during London Fashion Week Spring-Summer 2013, British designer Jean-Pierre Braganza unveiled a collection featuring prints inspired by Zinaida Likhacheva's paintings "Transformation" and "Touch."
Since his debut on the global fashion scene in 2004, Jean-Pierre Braganza has showcased his collections in cities worldwide, including Tokyo, Sydney, Toronto, Berlin, and Kyiv. Renowned for his complex geometric tailoring and futuristic elements, Braganza created this season's prints based on Likhacheva's artworks—organic strokes of rich, deep colors that provide a striking contrast to the refined cuts and sensual draping for which the designer is celebrated.
"Jean-Pierre creates pieces with stunning silhouettes and impeccable structure. By choosing my abstract paintings for his prints, he conceptually reinterpreted them in his designs. This is fashion that can truly be considered art," comments Zinaida.
"I admire the depth and mystery of intelligent, beautiful women. Zinaida, with her passion for creativity and love for her country, embodies my ideal of the modern woman," explains Jean-Pierre.
Since his debut on the global fashion scene in 2004, Jean-Pierre Braganza has showcased his collections in cities worldwide, including Tokyo, Sydney, Toronto, Berlin, and Kyiv. Renowned for his complex geometric tailoring and futuristic elements, Braganza created this season's prints based on Likhacheva's artworks—organic strokes of rich, deep colors that provide a striking contrast to the refined cuts and sensual draping for which the designer is celebrated.
"Jean-Pierre creates pieces with stunning silhouettes and impeccable structure. By choosing my abstract paintings for his prints, he conceptually reinterpreted them in his designs. This is fashion that can truly be considered art," comments Zinaida.
"I admire the depth and mystery of intelligent, beautiful women. Zinaida, with her passion for creativity and love for her country, embodies my ideal of the modern woman," explains Jean-Pierre.
Bo Zhinka
collection, 2013
Zinaida Likhacheva Unveils the Sculptural Composition "For She is Woman"
Inspired by the iconic women of Kyiv whose deeds shaped the course of history, aesthetics, and spirituality of an entire nation, this work is a tribute to their legacy. At the heart of the composition lies the archetype of the Universe, subtly embedded within the sculpture’s very form. Its interconnected parts create a harmonious whole, much like the women themselves, who embody the unity of a people bound by history, culture, and memory.
The blurred portraits of seven Ukrainian women—Sister Lybid, Princess Olga, Halshka Hulevychivna, Lesya Ukrainka, Mariia Zankovetska, Mariia Pryimachenko, and Anastasia of Kyiv—are integral to the composition, reflecting the hazy and fading memory of their descendants. Time erases the recollection of individuals. Echoes of their existence remain in fragments of poetry, canvases, names on paper, and, most importantly, their invaluable legacy to the people—life itself.
The role of a woman, after all, is to give life and to create.
Inspired by the iconic women of Kyiv whose deeds shaped the course of history, aesthetics, and spirituality of an entire nation, this work is a tribute to their legacy. At the heart of the composition lies the archetype of the Universe, subtly embedded within the sculpture’s very form. Its interconnected parts create a harmonious whole, much like the women themselves, who embody the unity of a people bound by history, culture, and memory.
The blurred portraits of seven Ukrainian women—Sister Lybid, Princess Olga, Halshka Hulevychivna, Lesya Ukrainka, Mariia Zankovetska, Mariia Pryimachenko, and Anastasia of Kyiv—are integral to the composition, reflecting the hazy and fading memory of their descendants. Time erases the recollection of individuals. Echoes of their existence remain in fragments of poetry, canvases, names on paper, and, most importantly, their invaluable legacy to the people—life itself.
The role of a woman, after all, is to give life and to create.
Red piano
2013, video
In the work "The Red Piano," a dialogue unfolds between life and death, creation and self-sacrifice.
The piano burns, mirroring the burning soul of an artist as they create their priceless works. Yet, spiritual creation remains eternal, and the symphony continues to resonate above the crackling of the flames consuming the wood that gave life to the instrument.
The music for this video piece was specially composed by Oleksandr Shymko, adding a profound emotional depth to the narrative.
The piano burns, mirroring the burning soul of an artist as they create their priceless works. Yet, spiritual creation remains eternal, and the symphony continues to resonate above the crackling of the flames consuming the wood that gave life to the instrument.
The music for this video piece was specially composed by Oleksandr Shymko, adding a profound emotional depth to the narrative.
Хресне
installation, 2013
A Composition of Symbolic Depth: The Cross Within the Egg
The composition, cast in plaster and standing 30 centimeters tall, takes the form of an egg. Yet, this egg appears as though it has been sliced into four segments, displaced from their natural alignment but firmly held together. Together, they form the shape of a primordial cross—a symbol of life. The vertical axis represents the masculine, paternal essence, while the horizontal axis embodies the feminine, maternal principle. Their union generates a third force: the filial, completing the sacred cross.
The cross itself carries layers of meaning—representing the Sun, celestial fire, light, an altar, and the symbol of power. It is one of humanity's oldest sacred symbols, traced back to the Paleolithic era, and its presence runs throughout human history.
Why the image of an egg? Across cultures, the egg symbolizes the genesis of the Universe and the beginning of creation. In Ukraine, there exists an ancient tradition, rich with meaning and symbolism, of painting eggs on Holy Thursday before Easter. These eggs, exchanged as gifts and preserved as powerful talismans, are materialized prayers of protection.
The ornament chosen by the artist to adorn this dynamic egg is deeply ancient and brimming with symbolism. At its core is the cross, encased by a triangle and an eight-pointed star. The eight-pointed star arises from the layering of the straight cross (symbolizing the masculine principle and the Sun) and the diagonal cross (representing the feminine principle and the Moon). This union of principles undeniably generates life itself, making the star a profound emblem of Nature itself.
The composition, cast in plaster and standing 30 centimeters tall, takes the form of an egg. Yet, this egg appears as though it has been sliced into four segments, displaced from their natural alignment but firmly held together. Together, they form the shape of a primordial cross—a symbol of life. The vertical axis represents the masculine, paternal essence, while the horizontal axis embodies the feminine, maternal principle. Their union generates a third force: the filial, completing the sacred cross.
The cross itself carries layers of meaning—representing the Sun, celestial fire, light, an altar, and the symbol of power. It is one of humanity's oldest sacred symbols, traced back to the Paleolithic era, and its presence runs throughout human history.
Why the image of an egg? Across cultures, the egg symbolizes the genesis of the Universe and the beginning of creation. In Ukraine, there exists an ancient tradition, rich with meaning and symbolism, of painting eggs on Holy Thursday before Easter. These eggs, exchanged as gifts and preserved as powerful talismans, are materialized prayers of protection.
The ornament chosen by the artist to adorn this dynamic egg is deeply ancient and brimming with symbolism. At its core is the cross, encased by a triangle and an eight-pointed star. The eight-pointed star arises from the layering of the straight cross (symbolizing the masculine principle and the Sun) and the diagonal cross (representing the feminine principle and the Moon). This union of principles undeniably generates life itself, making the star a profound emblem of Nature itself.
DARE
2013, performance, installation, video, painting, sculpture
Fashion as a New Form of Art: A Reflection of Our Time
Fashion is a new form of art that mirrors the era we live in. It is a space where experimentation always finds room to flourish. Skirts crafted from modern materials—such as construction, confectionery, and textile materials—by the artist Zinaida, explore the intersection of creativity, materiality, and innovation.
Fashion is a new form of art that mirrors the era we live in. It is a space where experimentation always finds room to flourish. Skirts crafted from modern materials—such as construction, confectionery, and textile materials—by the artist Zinaida, explore the intersection of creativity, materiality, and innovation.
Motherland
2013, collection
Zinaida Presents the Capsule Collection "Motherland-Mother" at Mercedes-Benz Kyiv Fashion Days
From March 21-24, during Mercedes-Benz Kyiv Fashion Days, artist Zinaida showcased a capsule collection of t-shirts titled "Motherland-Mother." The image of the "Motherland-Mother" monument embodies the symbol of the Ukrainian spirit. The depiction of the feminine figure in the print collection calls for wisdom, self-control, patriotism, courage, and a deep love for the homeland.
From March 21-24, during Mercedes-Benz Kyiv Fashion Days, artist Zinaida showcased a capsule collection of t-shirts titled "Motherland-Mother." The image of the "Motherland-Mother" monument embodies the symbol of the Ukrainian spirit. The depiction of the feminine figure in the print collection calls for wisdom, self-control, patriotism, courage, and a deep love for the homeland.
Black bride
2014, video installation
Zinaida’s Artistic Exploration of Womanhood and Ukrainian Culture
One of the leading themes in the work of artist Zinaida is the essence of womanhood, a concept she delves into and reinterprets through traditional elements of her native culture. Zinaida seeks out bearers of sacred knowledge and rare artisans who possess archaic skills, thus revealing the semi-forgotten pages of Ukraine’s history and culture. The artist explores female images and mythologies both within Ukrainian and global cultures.
A traditional element of Ukrainian wedding attire, the red necklace, symbolizes health, well-being, and happiness. The more strands the necklace adorns the bride’s white dress, the more fortunate her marriage will be. Zinaida reflects on this tradition and reinterprets the ritual, altering the code of archaic symbols in response to the complex and tragic events Ukraine is experiencing.
The installation "BLACK BRIDE" combines a video projection on light, semi-transparent canvases with a giant black necklace lying on the lifeless earth beneath the fabrics. The white dress, wedding wreath, black necklace instead of the red one, dry earth, and charred wood are universal symbols and archetypes of Ukrainian culture. In the video, the bride dons the black necklace to meditative music—she accepts this burden, seemingly contemplating the future experience. Her image is filled with light and hope, but also symbolizes a liminal state of a woman transitioning to another level of existence. The giant necklace in the installation transforms from an element of traditional attire into a symbol stripped of its original function to adorn a woman. The video installation immerses the viewer in the emotions and experiences of the character, symbolizing hope for a transition to a qualitatively new existence.
The project was presented at the artist’s solo exhibition at the Shcherbenko Art Centre (Kyiv, Ukraine, 2014) and at the international project Personal Structures during the 56th Venice Biennale (Palazzo Bembo, Venice, Italy, 2015).
One of the leading themes in the work of artist Zinaida is the essence of womanhood, a concept she delves into and reinterprets through traditional elements of her native culture. Zinaida seeks out bearers of sacred knowledge and rare artisans who possess archaic skills, thus revealing the semi-forgotten pages of Ukraine’s history and culture. The artist explores female images and mythologies both within Ukrainian and global cultures.
A traditional element of Ukrainian wedding attire, the red necklace, symbolizes health, well-being, and happiness. The more strands the necklace adorns the bride’s white dress, the more fortunate her marriage will be. Zinaida reflects on this tradition and reinterprets the ritual, altering the code of archaic symbols in response to the complex and tragic events Ukraine is experiencing.
The installation "BLACK BRIDE" combines a video projection on light, semi-transparent canvases with a giant black necklace lying on the lifeless earth beneath the fabrics. The white dress, wedding wreath, black necklace instead of the red one, dry earth, and charred wood are universal symbols and archetypes of Ukrainian culture. In the video, the bride dons the black necklace to meditative music—she accepts this burden, seemingly contemplating the future experience. Her image is filled with light and hope, but also symbolizes a liminal state of a woman transitioning to another level of existence. The giant necklace in the installation transforms from an element of traditional attire into a symbol stripped of its original function to adorn a woman. The video installation immerses the viewer in the emotions and experiences of the character, symbolizing hope for a transition to a qualitatively new existence.
The project was presented at the artist’s solo exhibition at the Shcherbenko Art Centre (Kyiv, Ukraine, 2014) and at the international project Personal Structures during the 56th Venice Biennale (Palazzo Bembo, Venice, Italy, 2015).
MUTE
2014, video
Zinaida’s "MUTE" – Honoring Women of the Euromaidan Revolution
The civil struggle known as Euromaidan, and later the Revolution of Dignity (2013-2014), was the most significant event in modern Ukrainian history and a logical extension of the fight for human rights. The Revolution of Dignity left an indelible mark on the formation of national identity — its ideals and hopes dramatically altered Ukraine's current positioning as a state.
Zinaida’s video installation is an important project that honors the women who participated in the volunteer movements during the Maidan protests. The artist explored and immersed herself in the emotional states of each heroine. The rich yet minimalist style of the video allows the viewer to focus on each participant and her untold story. In the project "MUTE", Zinaida delves into the concept of heroism, focusing on the role of women during the conflict, and portrays these women as heroic figures. The video work serves to honor the female volunteers of the Revolution of Dignity.
The project was presented at the artist’s solo exhibition at the PinchukArtCentre (Kyiv, Ukraine, 2015) and as part of the "4.5.0." exhibition at the White Box Gallery (New York, USA, 2018).
The civil struggle known as Euromaidan, and later the Revolution of Dignity (2013-2014), was the most significant event in modern Ukrainian history and a logical extension of the fight for human rights. The Revolution of Dignity left an indelible mark on the formation of national identity — its ideals and hopes dramatically altered Ukraine's current positioning as a state.
Zinaida’s video installation is an important project that honors the women who participated in the volunteer movements during the Maidan protests. The artist explored and immersed herself in the emotional states of each heroine. The rich yet minimalist style of the video allows the viewer to focus on each participant and her untold story. In the project "MUTE", Zinaida delves into the concept of heroism, focusing on the role of women during the conflict, and portrays these women as heroic figures. The video work serves to honor the female volunteers of the Revolution of Dignity.
The project was presented at the artist’s solo exhibition at the PinchukArtCentre (Kyiv, Ukraine, 2015) and as part of the "4.5.0." exhibition at the White Box Gallery (New York, USA, 2018).
Autumn is so cute
2013, performance
2013, performance
Zinaida's Performance "Autumn So Lovely" at the UK Ukraine Days Festival
On October 17, 2013, in London, within the framework of the Ukraine Days in the United Kingdom festival, a gala evening with a concert program was held, featuring the performance "Autumn So Lovely" by Ukrainian artist Zinaida. The Ukraine Days festival aimed to promote a positive image of Ukraine in Europe and showcase the rich, authentic culture of the country.
"Autumn So Lovely" was created to present a distinctive and multifaceted image of Ukraine through a contemporary lens. The main theme of the performance revolves around the beauty, tenderness, purity, and harmony of the inner world of a Ukrainian woman, who, throughout the unfolding narrative, becomes synonymous with Ukraine itself. Zinaida incorporates the music of Oleg Kiva and the singing of Nina Matviyenko, drawing on the works of Ukrainian literary classics such as Pavlo Tychyna and Taras Shevchenko. The performance is complemented by the artist’s own creations of dresses and accessories, merging past and present to form a dynamic portrayal of modern Ukraine.
Zinaida remarked: "Sharing culture through the language of creativity is my life's calling. There is so little known about Ukraine's culture—so rich and multifaceted—that I feel the urge to tell its story through every possible artistic form, to reveal its beauty and life-giving force, and to show its renewed life in contemporary expressions."
On October 17, 2013, in London, within the framework of the Ukraine Days in the United Kingdom festival, a gala evening with a concert program was held, featuring the performance "Autumn So Lovely" by Ukrainian artist Zinaida. The Ukraine Days festival aimed to promote a positive image of Ukraine in Europe and showcase the rich, authentic culture of the country.
"Autumn So Lovely" was created to present a distinctive and multifaceted image of Ukraine through a contemporary lens. The main theme of the performance revolves around the beauty, tenderness, purity, and harmony of the inner world of a Ukrainian woman, who, throughout the unfolding narrative, becomes synonymous with Ukraine itself. Zinaida incorporates the music of Oleg Kiva and the singing of Nina Matviyenko, drawing on the works of Ukrainian literary classics such as Pavlo Tychyna and Taras Shevchenko. The performance is complemented by the artist’s own creations of dresses and accessories, merging past and present to form a dynamic portrayal of modern Ukraine.
Zinaida remarked: "Sharing culture through the language of creativity is my life's calling. There is so little known about Ukraine's culture—so rich and multifaceted—that I feel the urge to tell its story through every possible artistic form, to reveal its beauty and life-giving force, and to show its renewed life in contemporary expressions."
Vytkani
2013, video installation
2013, video installation
Zinaida's "Woven" Installation Inspired by Shevchenko's "Lily"
The theme of woman and her inner world, deeply rooted in the works of Taras Shevchenko, has been a significant inspiration for Zinaida. In 2014, the year declared as the Year of Taras Shevchenko, the artist reinterpreted her favorite poem "Lily" through her artistic vision. In the video work "Woven," young girls, like the Greek Fates, spin threads, unraveling destinies and, in doing so, altering the course of their lives.
"The main heroine of this poem tragically dies and is reborn as a beautiful and delicate lily flower. This romantic story became the foundation for creating a collection in the form of lace fabric, which inspired me to create this installation. The girls are 'woven' into the verses of the poem, intertwining verbal imagery with the fabric, transforming poetry into visual forms," explains the artist.
The performance was part of the Ukrainian Fashion Week 2014 in Kyiv, Ukraine, and the dresses from the performance were gifted to the chamber ensemble "Artechatta."
The theme of woman and her inner world, deeply rooted in the works of Taras Shevchenko, has been a significant inspiration for Zinaida. In 2014, the year declared as the Year of Taras Shevchenko, the artist reinterpreted her favorite poem "Lily" through her artistic vision. In the video work "Woven," young girls, like the Greek Fates, spin threads, unraveling destinies and, in doing so, altering the course of their lives.
"The main heroine of this poem tragically dies and is reborn as a beautiful and delicate lily flower. This romantic story became the foundation for creating a collection in the form of lace fabric, which inspired me to create this installation. The girls are 'woven' into the verses of the poem, intertwining verbal imagery with the fabric, transforming poetry into visual forms," explains the artist.
The performance was part of the Ukrainian Fashion Week 2014 in Kyiv, Ukraine, and the dresses from the performance were gifted to the chamber ensemble "Artechatta."
In kyiv
2014, collection
2014, collection
The theme of women and their inner world, deeply rooted in the works of Taras Shevchenko, inspires ZINAIDA. In 2014, the year declared as the year of Taras Shevchenko, the artist reinterpreted her favorite poem, "Lily." In the video work "Woven," young girls, like the goddesses of Fate, spin threads, untangling destinies and, in doing so, changing the course of their lives.
"The main heroine of this poem tragically dies and is reborn into a beautiful and delicate lily flower. This romantic story became the basis for creating a lace-like collection that inspired me to create this installation. The girls are 'woven' into the stanzas of the poem, intertwining verbal images into the fabric, transforming poetry into visual forms," explains the artist.
Ukrainian Fashion Week 2014, Kyiv, Ukraine; The author’s dresses from the performance were gifted to the chamber ensemble "Artekhatta."
"The main heroine of this poem tragically dies and is reborn into a beautiful and delicate lily flower. This romantic story became the basis for creating a lace-like collection that inspired me to create this installation. The girls are 'woven' into the stanzas of the poem, intertwining verbal images into the fabric, transforming poetry into visual forms," explains the artist.
Ukrainian Fashion Week 2014, Kyiv, Ukraine; The author’s dresses from the performance were gifted to the chamber ensemble "Artekhatta."
Last super
2015, video
2015, video
The video demonstrates the destructive power of humankind, directed at all living things. Destructive wars, man-made and natural disasters are events that terrify not only because of the death toll and the scale of the damage caused to the global community, but also because of the reasons behind them.
The work suggests perceiving humanity as a container that holds not only positive but also negative experiences and knowledge. When a person is overwhelmed by negativity and malice, defragmentation is needed. However, instead of spiritual practices, this negativity is purged by the spilling of negativity in all its forms: from chauvinism, xenophobia, and homophobia to terrorist attacks and war. In this way, humanity surrenders itself to processes it seeks to rid itself of, and instead of achieving Spiritual (catharsis), it experiences physical ecstasy from the act of tormenting its own body. The filming of this work took place at functioning slaughterhouses, including areas in industrial Chernobyl, unfinished parts of the Chernobyl Nuclear Power Plant, the Chernobyl-2 area, the site of the Over-the-Horizon Radar Station, as well as abandoned farms and factories.
The work suggests perceiving humanity as a container that holds not only positive but also negative experiences and knowledge. When a person is overwhelmed by negativity and malice, defragmentation is needed. However, instead of spiritual practices, this negativity is purged by the spilling of negativity in all its forms: from chauvinism, xenophobia, and homophobia to terrorist attacks and war. In this way, humanity surrenders itself to processes it seeks to rid itself of, and instead of achieving Spiritual (catharsis), it experiences physical ecstasy from the act of tormenting its own body. The filming of this work took place at functioning slaughterhouses, including areas in industrial Chernobyl, unfinished parts of the Chernobyl Nuclear Power Plant, the Chernobyl-2 area, the site of the Over-the-Horizon Radar Station, as well as abandoned farms and factories.
Substantia
2015, installation, variable sizes, liquids, glass, plastic, metal.
2015, installation, variable sizes, liquids, glass, plastic, metal.
Substance is eternal constancy. In ancient symbolism, the main substances are blood, milk, and ash.
Blood represents humanity as the primordial bearer of life. Milk, known as the "drink of life," symbolizes nourishment, the first food, and the possibility of rebirth. Ash, on the other hand, embodies fragility, transience, and the mortality of earthly existence.
The story of constant exchange embedded in these symbols accurately reflects what happened to the territories around the Chernobyl Nuclear Power Plant, particularly to the ghost town of Pripyat. Presented in a form understandable to the modern human, these symbols vividly demonstrate their eternal relevance, reminding viewers of ancient images and their meanings, and returning them to the origins.
Blood represents humanity as the primordial bearer of life. Milk, known as the "drink of life," symbolizes nourishment, the first food, and the possibility of rebirth. Ash, on the other hand, embodies fragility, transience, and the mortality of earthly existence.
The story of constant exchange embedded in these symbols accurately reflects what happened to the territories around the Chernobyl Nuclear Power Plant, particularly to the ghost town of Pripyat. Presented in a form understandable to the modern human, these symbols vividly demonstrate their eternal relevance, reminding viewers of ancient images and their meanings, and returning them to the origins.
The Wall
2015, performance
2015, performance
Part I: Audiovisual Performance "Reconstruction" GogolFest
Participants: Chamber Ensemble "Artechatta," Myroslava Kotovych, and Katya Chilly.
The first part of the figurative interpretation of the tragedy "The Wall of Memory" emerged in the form of a performance. It was an act of mourning, grieving for the destroyed significant artistic object and broken lives that could not be realized due to the impossibility of fulfilling the intended. At the same time, in the process of working with historical materials and facts that documented the act of state vandalism, a new theme emerged. This theme is degeneration and love: love between a man and a woman, love for the environment, and the artist's love for their craft.
Part II: Installation "The Wall"
Art Kyiv Contemporary
The installation "The Wall" became a continuation of the idea of reconstruction (in a metaphysical sense), but now focused on revealing the theme of freedom and the yearning for it – "breaking the wall."
The installation is divided into two levels. Each level embodies a separate concept but maintains a connection with the other. This symbolic revelation of the system leads to its destruction. It does not matter whether it exists in people's imagination, provoking aggression and wars, or in artistic reality, creating precedents, as was the case with the destruction of the unique sculptural ensemble "The Wall of Memory."
Part III: Performance "The Wall"
Art Kyiv Contemporary
In collaboration with Ukrainian director Dmytro Bohomazov.
The "revival" of a static installation through the language of performance became the logical finale of the entire project. When the exhibition life of the object comes to an end, a new act occurs, aiming at the complete unveiling of the idea through the synthesis of all elements.
Performance, as a universal language, evokes a "here and now" response, prompting action and realization. It is no surprise that it encourages the destruction of the wall.
2015 – Art Kyiv Contemporary, Kyiv, Ukraine.
2017 – "For You 'My Shining Paradise'" by Valentyn Sylvestrov, scenography for a concert based on "The Wall," Taras Shevchenko National Museum, Kyiv, Ukraine.
Participants: Chamber Ensemble "Artechatta," Myroslava Kotovych, and Katya Chilly.
The first part of the figurative interpretation of the tragedy "The Wall of Memory" emerged in the form of a performance. It was an act of mourning, grieving for the destroyed significant artistic object and broken lives that could not be realized due to the impossibility of fulfilling the intended. At the same time, in the process of working with historical materials and facts that documented the act of state vandalism, a new theme emerged. This theme is degeneration and love: love between a man and a woman, love for the environment, and the artist's love for their craft.
Part II: Installation "The Wall"
Art Kyiv Contemporary
The installation "The Wall" became a continuation of the idea of reconstruction (in a metaphysical sense), but now focused on revealing the theme of freedom and the yearning for it – "breaking the wall."
The installation is divided into two levels. Each level embodies a separate concept but maintains a connection with the other. This symbolic revelation of the system leads to its destruction. It does not matter whether it exists in people's imagination, provoking aggression and wars, or in artistic reality, creating precedents, as was the case with the destruction of the unique sculptural ensemble "The Wall of Memory."
Part III: Performance "The Wall"
Art Kyiv Contemporary
In collaboration with Ukrainian director Dmytro Bohomazov.
The "revival" of a static installation through the language of performance became the logical finale of the entire project. When the exhibition life of the object comes to an end, a new act occurs, aiming at the complete unveiling of the idea through the synthesis of all elements.
Performance, as a universal language, evokes a "here and now" response, prompting action and realization. It is no surprise that it encourages the destruction of the wall.
2015 – Art Kyiv Contemporary, Kyiv, Ukraine.
2017 – "For You 'My Shining Paradise'" by Valentyn Sylvestrov, scenography for a concert based on "The Wall," Taras Shevchenko National Museum, Kyiv, Ukraine.
Dakini
2017, video installation, objects.
2017, video installation, objects.
Art as a Response to Reality: A Reflection of Human Existence and Spirituality
Art is one of humanity's responses to reality, an inseparable link to transience and spirituality. At the same time, it unveils the complexity of human existence as a territory of individuals with their egos, a critical step toward understanding the boundaries and characteristics of eras in time and cultures in space.
Today, as the parameters of the human world have expanded to cosmic scales, the task of art is to document, comprehend, and reinterpret the uniqueness and origin of humanity. Preserving the spiritual microcosm of the individual can create a hyperrealistic, humanistic worldview. Thus, this approach can challenge the priorities and challenges of our time.
A cultural approach to studying the development of the inner world of a person, their unique "I," is an organic component of understanding the worldview doctrines throughout humanity's existence. In a broad sense, spirituality can be defined as a way of mastering reality—the property of consciousness and activity of the individual, which accumulates the human ability to transcend necessity and elevate ideas of humanity to a higher level.
Project "DAKINI"
In her project DAKINI, Zinaida explores the emotional states of women and the transformation of the spiritual in art, utilizing the possibilities of time and space. The materials from the expeditions that the artist gathered over five years in Western Ukraine form the foundation of the project. As the artist notes, "This is a special land where spiritual culture has always been not only part of the mystical experience but also the foundation of existence."
The DAKINI project consists of two parts. The first is an installation that combines five elements: earth, fire, air, water, and ether. The bearers of ancient traditions and rituals honor these elements in daily life and use them in rituals. The fifth element—ether—is transcendent and formless. In her installation, the artist brings each of them to the altar within closed, isolated spaces.
The second part of the project is a video that explores the transformation of women amidst mass changes. "Due to her ability to give life, feminine energy is the foundation of all existence," explains Zinaida.
The project was presented at her solo exhibition during the Kyiv Art Week festival at the Taras Shevchenko National Museum (Kyiv, Ukraine, 2017) and also at the SURFACES FESTIVAL (Venice, Italy, 2018) and Personal Structures at the 58th Venice Biennale.
Art is one of humanity's responses to reality, an inseparable link to transience and spirituality. At the same time, it unveils the complexity of human existence as a territory of individuals with their egos, a critical step toward understanding the boundaries and characteristics of eras in time and cultures in space.
Today, as the parameters of the human world have expanded to cosmic scales, the task of art is to document, comprehend, and reinterpret the uniqueness and origin of humanity. Preserving the spiritual microcosm of the individual can create a hyperrealistic, humanistic worldview. Thus, this approach can challenge the priorities and challenges of our time.
A cultural approach to studying the development of the inner world of a person, their unique "I," is an organic component of understanding the worldview doctrines throughout humanity's existence. In a broad sense, spirituality can be defined as a way of mastering reality—the property of consciousness and activity of the individual, which accumulates the human ability to transcend necessity and elevate ideas of humanity to a higher level.
Project "DAKINI"
In her project DAKINI, Zinaida explores the emotional states of women and the transformation of the spiritual in art, utilizing the possibilities of time and space. The materials from the expeditions that the artist gathered over five years in Western Ukraine form the foundation of the project. As the artist notes, "This is a special land where spiritual culture has always been not only part of the mystical experience but also the foundation of existence."
The DAKINI project consists of two parts. The first is an installation that combines five elements: earth, fire, air, water, and ether. The bearers of ancient traditions and rituals honor these elements in daily life and use them in rituals. The fifth element—ether—is transcendent and formless. In her installation, the artist brings each of them to the altar within closed, isolated spaces.
The second part of the project is a video that explores the transformation of women amidst mass changes. "Due to her ability to give life, feminine energy is the foundation of all existence," explains Zinaida.
The project was presented at her solo exhibition during the Kyiv Art Week festival at the Taras Shevchenko National Museum (Kyiv, Ukraine, 2017) and also at the SURFACES FESTIVAL (Venice, Italy, 2018) and Personal Structures at the 58th Venice Biennale.
Our Babas
2017, sculpture
2017, sculpture
Installation «Our Babas 7+2» consists of nine straw babas arranged in a circle. Baba is an incarnation of a woman as a progenitress of the kin who brings beauty, harmony and love. Every figure comprises two woman centers: the first one is in the head, the second one – in the womb and is an embodiment of one of feminine energies.
"Circle" – Round dance – is the symbol of the Sun which animates everything and is the source of creativity, light and LOVE.
This installation is the form of communication, which gives an opportunity to touch the wisdom of the ancestors through national traditions.
"Circle" – Round dance – is the symbol of the Sun which animates everything and is the source of creativity, light and LOVE.
This installation is the form of communication, which gives an opportunity to touch the wisdom of the ancestors through national traditions.
Flow
2016, performance, video
The transcript of the infinite existence of energetic elements, which accumulate strength, carefully preserve authentic energy and ritual symbolism. They flow through time, events, humanity, catastrophes, prohibitions... And element by element, they unite into a unique ornament.
Kyiv City Art Gallery "Lavra", Kyiv, Ukraine
Kyiv City Art Gallery "Lavra", Kyiv, Ukraine
Opium
2016, video installation
A broad consensus agrees that those who suffer from drug addition are in the grip of something painful to shake, often with severe consequences for the individual, their immediate community, and for society at large. As such, opinions about the social nature of drug addiction are widespread, spanning scapegoating and stereotyping about a supposed moral weakness and deficit desires (often dictated from afar and made with a problematic sense of superiority) to support and solidarity in close proximity.
In the project "OPIUM", ZINAIDA continues to explore women's prominence in life processes, tracking the transformations of the harmful effects of drugs on women along themes of wills, fortitude, and stamina.
A woman is like a flower. In the course of its development, it changes, passing fully through the usual stages: birth, blossom, and finally, ageing.
Succumbing to the deceptive spell of sensual pleasure, a wonderful herb that was once juicy transforms into an exhausted old woman. The bright colours of red and black velvet turn into that of hollow and dead wood, and the woman-flower is filled with poisonous fumes, bringing the inevitable death of the body. And this is how the pretty girl, swallowing sudden death and disappearing from human life, leaves memories after herself with a fatal taste of bitterness.
Author of the text: Dmytro Horda-Horytsvit
The project has been shown in the group exhibition Women's Art Project, art centre Chocolate House (Kyiv, Ukraine, 2016).
In the project "OPIUM", ZINAIDA continues to explore women's prominence in life processes, tracking the transformations of the harmful effects of drugs on women along themes of wills, fortitude, and stamina.
A woman is like a flower. In the course of its development, it changes, passing fully through the usual stages: birth, blossom, and finally, ageing.
Succumbing to the deceptive spell of sensual pleasure, a wonderful herb that was once juicy transforms into an exhausted old woman. The bright colours of red and black velvet turn into that of hollow and dead wood, and the woman-flower is filled with poisonous fumes, bringing the inevitable death of the body. And this is how the pretty girl, swallowing sudden death and disappearing from human life, leaves memories after herself with a fatal taste of bitterness.
Author of the text: Dmytro Horda-Horytsvit
The project has been shown in the group exhibition Women's Art Project, art centre Chocolate House (Kyiv, Ukraine, 2016).
Буду
2017, video documentation of the performance (in collaboration with Vogue Ukraine)
Promises in the context of three fundamental themes of existence – human relationships, the surrounding nature, and the security of life. An ancient vow ritual on the earth has transformed into a modern performance.
I will love. I will enchant. I will give birth. I will kiss.
I will save. I will be the earth. I will be the water. I will be the air. I will be the sun.
I will be the guardian. I will be peace. I will be harmony. I will be love.
I will love. I will enchant. I will give birth. I will kiss.
I will save. I will be the earth. I will be the water. I will be the air. I will be the sun.
I will be the guardian. I will be peace. I will be harmony. I will be love.
In & Out
2013, installation
According to composer Valentyn Sylvestrov, "music should be born from silence." The artist's inner world fills with sounds and voices, transforming this inner language into music. The same process occurs in visual art. Zinaida believes that "color is born from purity." The surrounding world is bright and multicolored thanks to three primary colors — red, blue, and yellow. These three colors form the basis of the artist's palette. However, in the colorful variety of the world, its tones and nuances always conceal the primary color, because when all the hues are mixed, we obtain an achromatic black landscape. The diversity of colors and shades ultimately concludes with one tone.
Music reveals the inner world of the musician through sounds, and painting does so through the palette of colors. Listeners and viewers become co-creators of this inner world. Once expressed outwardly, it ceases to be the artist's private realm and becomes the shared heritage of all involved. At the same time, music and visual art appeal to the audience's senses, prompting them to contemplate and transform external factors – sounds and colors – into their own inner world.
The installation In&Out reflects a synthesis of this interaction. The work consists of the following elements: light, sound, and three pianos, each painted according to a specific color principle.
The music accompanying the installation is "Mantra" by Karlheinz Stockhausen.
Music reveals the inner world of the musician through sounds, and painting does so through the palette of colors. Listeners and viewers become co-creators of this inner world. Once expressed outwardly, it ceases to be the artist's private realm and becomes the shared heritage of all involved. At the same time, music and visual art appeal to the audience's senses, prompting them to contemplate and transform external factors – sounds and colors – into their own inner world.
The installation In&Out reflects a synthesis of this interaction. The work consists of the following elements: light, sound, and three pianos, each painted according to a specific color principle.
The music accompanying the installation is "Mantra" by Karlheinz Stockhausen.
No Life
2016, installation, video
NO LIFE. A large-scale installation made of babies' cots has become an irresistible metaphor literally turns up spectators' consciousness, as if cots had faces or individuality. The artist refers to the most ignoble side of Chernobyl tragedy - coercive abortions, concealment of the scale of infant mortality, inhuman and felonious totalitarian system that entered women's destinies by force, making them destroy unborn innocent lives.
Incompetence and inhumanity of this system, absence of transparency, erroneous official data, informational vacuum turned the measures called to liquidate the disaster into even bigger tragedy. Having taking the lives of dozens of thousands of alive and unborn children, ruining destinies of hundreds of thousands of women, the system turned them into innumerable, speechless, nameless casualties of the disaster.
This project touches upon the most ignoble side of the tragedy of Chernobyl – the coercive abortions and the scale of infant mortality concealment, as an inhuman and felonious totalitarian system entered women's destinies by force, making them destroy unborn, innocent lives. The incompetence and inhumanity of this system brought forth measures called to liquidate the disaster into an even bigger tragedy. The installation is made of babies' cots, used as an irresistible metaphor.
International project Clouded Lands. 30 years Chornobyl (Food of War presents) 2016-2017 : National Art and Culture Museum Complex "Mystetskyi Arsenal", Kyiv, Ukraine; Berlin, Germany
London, Great Britain; Burgos, Spain; Bogota, Colombia
Incompetence and inhumanity of this system, absence of transparency, erroneous official data, informational vacuum turned the measures called to liquidate the disaster into even bigger tragedy. Having taking the lives of dozens of thousands of alive and unborn children, ruining destinies of hundreds of thousands of women, the system turned them into innumerable, speechless, nameless casualties of the disaster.
This project touches upon the most ignoble side of the tragedy of Chernobyl – the coercive abortions and the scale of infant mortality concealment, as an inhuman and felonious totalitarian system entered women's destinies by force, making them destroy unborn, innocent lives. The incompetence and inhumanity of this system brought forth measures called to liquidate the disaster into an even bigger tragedy. The installation is made of babies' cots, used as an irresistible metaphor.
International project Clouded Lands. 30 years Chornobyl (Food of War presents) 2016-2017 : National Art and Culture Museum Complex "Mystetskyi Arsenal", Kyiv, Ukraine; Berlin, Germany
London, Great Britain; Burgos, Spain; Bogota, Colombia
White Tears
2017, installation
2017, installation
The set of painted paper cuttings (a traditional Ukrainian art form of paper cutting) each depicts one of the signs of the destruction of our world:
M17 Contemporary Art Center, 2017, Kyiv, Ukraine.
- A bird with a broken wing – embodiment of the wounded spirit, symbolizing the crisis of humanity.
- A broken tree – symbol of natural disasters that have affected the planet.
- A weapon – an allegory of the thirst for power.
- A figure from the virtual game Minecraft – embodiment of real and virtual worlds, prompting reflection on the parallel realities of our lives. These realities truly coexist in our time, blending the military operations of one country with peaceful life in cozy cafes.
M17 Contemporary Art Center, 2017, Kyiv, Ukraine.
Borsch
2018, video
Borscht is a thick vegetable soup, and if we try to explain it in a way that would be understood by anyone, regardless of their country of origin, we can say that borscht is a soup made primarily from beets. Ukrainians have been preparing this dish for over three hundred years. While there are many variations of borscht, the beetroot is an irreplaceable ingredient in every recipe.
It’s not enough to say that borscht is a traditional Ukrainian dish. It is an archetypal dish. For many people, making borscht is a special ritual. The methodical, meditative process of preparing borscht, involving the cook in this ritual and the combination of ingredients, tells a lot about the person carrying this culinary tradition.
The place of borscht in the battlefield might seem questionable to many. With the outbreak of the war in eastern Ukraine in 2014, volunteer movements organized by Ukrainian women emerged. These women would dry borscht and send it to the front, feeling the natural desire to feed their husbands. Thus, influenced by the new living conditions of society, this traditional dish underwent transformations. It’s impossible to calculate how many kilograms of dry borscht were sent to the front over the past four years.
Borscht is also cooked by men on the frontlines. Traditionally, cooking has always been considered women’s work. But now, many women are also on the front lines of eastern Ukraine — not cooking, but fighting. Therefore, men are the ones cooking borscht in the field, and it turns out incredibly tasty. Among the Ukrainian soldiers, there is a young man with the call sign Santa, whose borscht is known for its exceptional taste.
All these changes in culinary tradition reflect the spirit of our time, where gender roles are losing their significance.
In a video created by artist Zinaida, a man is shown preparing borscht. This video serves as a way to share these observations and also to reveal the energy that this dish radiates, remaining a part of our culture in a constantly changing world, even during times of war.
Over 50 volunteer organizations in Ukraine officially prepared and sent dry borscht to the Anti-Terrorist Operation zone. From 2014 to 2016, they delivered over 600,000 packets of dry borscht, which equaled more than 7 million liters of borscht for the soldiers.
It’s not enough to say that borscht is a traditional Ukrainian dish. It is an archetypal dish. For many people, making borscht is a special ritual. The methodical, meditative process of preparing borscht, involving the cook in this ritual and the combination of ingredients, tells a lot about the person carrying this culinary tradition.
The place of borscht in the battlefield might seem questionable to many. With the outbreak of the war in eastern Ukraine in 2014, volunteer movements organized by Ukrainian women emerged. These women would dry borscht and send it to the front, feeling the natural desire to feed their husbands. Thus, influenced by the new living conditions of society, this traditional dish underwent transformations. It’s impossible to calculate how many kilograms of dry borscht were sent to the front over the past four years.
Borscht is also cooked by men on the frontlines. Traditionally, cooking has always been considered women’s work. But now, many women are also on the front lines of eastern Ukraine — not cooking, but fighting. Therefore, men are the ones cooking borscht in the field, and it turns out incredibly tasty. Among the Ukrainian soldiers, there is a young man with the call sign Santa, whose borscht is known for its exceptional taste.
All these changes in culinary tradition reflect the spirit of our time, where gender roles are losing their significance.
In a video created by artist Zinaida, a man is shown preparing borscht. This video serves as a way to share these observations and also to reveal the energy that this dish radiates, remaining a part of our culture in a constantly changing world, even during times of war.
Over 50 volunteer organizations in Ukraine officially prepared and sent dry borscht to the Anti-Terrorist Operation zone. From 2014 to 2016, they delivered over 600,000 packets of dry borscht, which equaled more than 7 million liters of borscht for the soldiers.
WHITE COFFIN
2018, video second bread
The video art piece "WHITE COFFIN" by ZINAIDA was presented at the solo exhibition "4.5.0." at the White Box Gallery in New York, USA, in 2018. It is a dialogue and continuation of the artist's project "SILENT."
The numbers in the title of the project are not accidental; they carry a specific philosophical meaning. "4.5.0." is the code used by Ukrainian soldiers involved in the war in Donbas (Eastern Ukraine) to inform each other about the state of "ceasefire" on the frontlines. Emerging from the context of war, this numeric combination "4.5.0." quickly became a significant piece of jargon symbolizing a wish for peace and quiet. This "code" echoes the well-known acronym "R.I.P.," which originates from Psalm 4 — "Rest in peace" and "Grant him eternal rest."
In the video work "WHITE COFFIN," the persistent, oppressive, and sinister sound of a metal rope pulling the coffin through a turbulent river immerses the viewer in a trance-like state — a liminal state between sleep and reality. As we observe the funeral ceremony, we find ourselves in a clearly structured mythological universe where everything has its place: life and death, material and immaterial.
The numbers in the title of the project are not accidental; they carry a specific philosophical meaning. "4.5.0." is the code used by Ukrainian soldiers involved in the war in Donbas (Eastern Ukraine) to inform each other about the state of "ceasefire" on the frontlines. Emerging from the context of war, this numeric combination "4.5.0." quickly became a significant piece of jargon symbolizing a wish for peace and quiet. This "code" echoes the well-known acronym "R.I.P.," which originates from Psalm 4 — "Rest in peace" and "Grant him eternal rest."
In the video work "WHITE COFFIN," the persistent, oppressive, and sinister sound of a metal rope pulling the coffin through a turbulent river immerses the viewer in a trance-like state — a liminal state between sleep and reality. As we observe the funeral ceremony, we find ourselves in a clearly structured mythological universe where everything has its place: life and death, material and immaterial.
The video work "WHITE COFFIN" by ZINAIDA was presented at the solo exhibition "4.5.0." at the White Box Gallery in New York, USA, in 2018. It serves as a dialogue and continuation of the artist's project "SILENT."
The numbers in the project's title are not arbitrary; they carry clear philosophical meaning. "4.5.0." is the code used by Ukrainian soldiers involved in the war in Donbas (Eastern Ukraine) to inform one another about the state of "ceasefire" on the frontlines. Emerging from the war, this numeric combination "4.5.0." quickly became an important piece of jargon symbolizing a wish for peace and calm. This "code" resonates with the well-known abbreviation "R.I.P.," which originates from Psalm 4 — "Rest in peace" and "Grant him eternal rest."
In the video work "WHITE COFFIN," the long, persistent, and ominous sound of a metal rope pulling the coffin through a turbulent river plunges the viewer into a trance-like state — a liminal condition between sleep and reality. As we observe the funeral ceremony, we find ourselves in a clearly structured mythological universe, where everything has its place: life and death, material and immaterial.
The numbers in the project's title are not arbitrary; they carry clear philosophical meaning. "4.5.0." is the code used by Ukrainian soldiers involved in the war in Donbas (Eastern Ukraine) to inform one another about the state of "ceasefire" on the frontlines. Emerging from the war, this numeric combination "4.5.0." quickly became an important piece of jargon symbolizing a wish for peace and calm. This "code" resonates with the well-known abbreviation "R.I.P.," which originates from Psalm 4 — "Rest in peace" and "Grant him eternal rest."
In the video work "WHITE COFFIN," the long, persistent, and ominous sound of a metal rope pulling the coffin through a turbulent river plunges the viewer into a trance-like state — a liminal condition between sleep and reality. As we observe the funeral ceremony, we find ourselves in a clearly structured mythological universe, where everything has its place: life and death, material and immaterial.
The second bread
2018, video without a woman
Ukrainian artist ZINAIDA will participate in the international collective exhibition "FOOD OF WAR," which will open on November 15 at the Museum of Contemporary Art in the Colombian capital, Bogotá. ZINAIDA's work, titled "THE SECOND BREAD," features a ceramic panel of dumplings and pierogi.
In this piece, the artist reinterprets the concept of a time when events occur that are in direct contradiction to moral principles; a time when essential human values—humanity, peace, and love—are unjustifiably pushed aside. We live in a world where people are still deprived of the ability to meet even the most basic needs. The inability to feed oneself or one's children, the loss of the ability to see loved ones, and the lack of shelter—these are all consequences of the brutal and merciless war.
But just rising above the circumstances that cause these horrors for even a moment allows one to realize that there is something simpler and far more important: we are all human beings. We are free creatures, and each person has the right to be happy and, above all, the right to peace. In this freedom, we are united. Therefore, when tragic events occur between neighboring nations, they seem absurd and wild. It's as if a dumpling had a falling out with a pierogi.
Traditionally, pierogi are considered the second most important dish after bread in Ukrainian cuisine, with more than 100 different fillings. Dumplings hold a similar place in Russian cuisine. Both pierogi and dumplings share similar preparation methods and their original function—sacrifice. Pierogi are shaped like a crescent moon, symbolizing the feminine essence. Dumplings resemble the sun, transmitting the inseparable unity of eternity and mortality.
The exhibition will feature over 16 artists from various countries who explore the histories of international conflicts and the role of food in society. Initially, as the founders of the FOOD OF WAR collective state, the project aimed to investigate the relationship between food and war through social and cultural phenomena in the Middle East. However, the conflict between Russia and Ukraine, along with the Chernobyl nuclear disaster, sparked the development of gastro-performance in the context of Eastern European issues.
The exhibition will run until February 29, 2020.
In this piece, the artist reinterprets the concept of a time when events occur that are in direct contradiction to moral principles; a time when essential human values—humanity, peace, and love—are unjustifiably pushed aside. We live in a world where people are still deprived of the ability to meet even the most basic needs. The inability to feed oneself or one's children, the loss of the ability to see loved ones, and the lack of shelter—these are all consequences of the brutal and merciless war.
But just rising above the circumstances that cause these horrors for even a moment allows one to realize that there is something simpler and far more important: we are all human beings. We are free creatures, and each person has the right to be happy and, above all, the right to peace. In this freedom, we are united. Therefore, when tragic events occur between neighboring nations, they seem absurd and wild. It's as if a dumpling had a falling out with a pierogi.
Traditionally, pierogi are considered the second most important dish after bread in Ukrainian cuisine, with more than 100 different fillings. Dumplings hold a similar place in Russian cuisine. Both pierogi and dumplings share similar preparation methods and their original function—sacrifice. Pierogi are shaped like a crescent moon, symbolizing the feminine essence. Dumplings resemble the sun, transmitting the inseparable unity of eternity and mortality.
The exhibition will feature over 16 artists from various countries who explore the histories of international conflicts and the role of food in society. Initially, as the founders of the FOOD OF WAR collective state, the project aimed to investigate the relationship between food and war through social and cultural phenomena in the Middle East. However, the conflict between Russia and Ukraine, along with the Chernobyl nuclear disaster, sparked the development of gastro-performance in the context of Eastern European issues.
The exhibition will run until February 29, 2020.
Without women
2018, video second bread
Exhibition Dates: April 21 — November 27
Location: Spiazzi, Castello 3865, Venice, Italy, 30122
Organizer: Visual Research Support Foundation
Opening Hours:
Drawing from years of ethnographic research and close collaboration with indigenous communities, ZINAIDA explores mythologies, national symbols, archaic images, and the role of women as bearers of sacred knowledge in her work. Her expeditions across various regions of Ukraine focus on studying and preserving cultural heritage. ZINAIDA is also involved in volunteer initiatives and charity work in the Chernobyl Exclusion Zone. She founded the volunteer project ARTREHUB and developed her own methodology, Red Thread, for children with special needs and autism spectrum disorders.
As part of the Parallel Events at the Venice Biennale, ZINAIDA presents the work "Without Women", dedicated to shepherding, the purity of nature, and the transformation of male energy. Shepherding traditions, deeply rooted in the modern world, are reflected in everyday life. From childhood to adulthood, men leave their homes and villages, heading into the mountains for five months. There, among flocks of sheep and cows, they turn milk into butter and cheese.
The "Without Women" project consists of two parts: a video space, where three projections create a triptych of living pictures, and an installation "Milk of Life", evoking associations with the warm scents of feminine skin.
In the video presentation, the naked body of a young man immersed in milk, reaching into a cauldron to retrieve cheese, resembles a mythical deity creating the world. His movements resemble an act of love with a woman, while the cheesecloth used to drain the whey evokes a veil. The curtains, swaying in the wind, resemble a lace wedding dress. In this solitary environment, the man fully expresses and renews his masculine nature.
Balancing between tangible acts of sublimation and poetic depictions of shepherds as solitary monks, the video narrative is enhanced by tactile and aromatic elements within the exhibition space. The "flowing" screen, scented with milk, again draws attention to concepts of self-restraint and sincerity.
Location: Spiazzi, Castello 3865, Venice, Italy, 30122
Organizer: Visual Research Support Foundation
Opening Hours:
- April 23 — September 25: 11:00 AM — 7:00 PM
- September 27 — November 27: 10:00 AM — 6:00 PM
- Opening Days for Visitors: Tuesday to Sunday
Drawing from years of ethnographic research and close collaboration with indigenous communities, ZINAIDA explores mythologies, national symbols, archaic images, and the role of women as bearers of sacred knowledge in her work. Her expeditions across various regions of Ukraine focus on studying and preserving cultural heritage. ZINAIDA is also involved in volunteer initiatives and charity work in the Chernobyl Exclusion Zone. She founded the volunteer project ARTREHUB and developed her own methodology, Red Thread, for children with special needs and autism spectrum disorders.
As part of the Parallel Events at the Venice Biennale, ZINAIDA presents the work "Without Women", dedicated to shepherding, the purity of nature, and the transformation of male energy. Shepherding traditions, deeply rooted in the modern world, are reflected in everyday life. From childhood to adulthood, men leave their homes and villages, heading into the mountains for five months. There, among flocks of sheep and cows, they turn milk into butter and cheese.
The "Without Women" project consists of two parts: a video space, where three projections create a triptych of living pictures, and an installation "Milk of Life", evoking associations with the warm scents of feminine skin.
In the video presentation, the naked body of a young man immersed in milk, reaching into a cauldron to retrieve cheese, resembles a mythical deity creating the world. His movements resemble an act of love with a woman, while the cheesecloth used to drain the whey evokes a veil. The curtains, swaying in the wind, resemble a lace wedding dress. In this solitary environment, the man fully expresses and renews his masculine nature.
Balancing between tangible acts of sublimation and poetic depictions of shepherds as solitary monks, the video narrative is enhanced by tactile and aromatic elements within the exhibition space. The "flowing" screen, scented with milk, again draws attention to concepts of self-restraint and sincerity.
"The timing for presenting Zinaida's work Without Women could not have been better. This key exhibition expands on the theme of the 2022 Venice Biennale, Milk of Dreams, through unique interpretations of discoveries and rethinking in her artistic practice. The focus on women who have made significant contributions to the history of art and continue to do so today is highly relevant," noted the curator of the exhibition, Peter Doroshenko.
"Zinaida works in diverse forms and on many levels to create art that has a powerful impact."
"Zinaida works in diverse forms and on many levels to create art that has a powerful impact."
The curator of the "Without Women" exhibition, Executive Director of Dallas Contemporary, Peter Doroshenko, emphasized:
"Zinaida is a national cultural figure for Ukraine. Over the past fifteen years, she has synthesized, documented, and interpreted contemporary Ukrainian society through her works. Zinaida's art has become a significant and defining influence on all modern Ukrainian artists."
"Zinaida is a national cultural figure for Ukraine. Over the past fifteen years, she has synthesized, documented, and interpreted contemporary Ukrainian society through her works. Zinaida's art has become a significant and defining influence on all modern Ukrainian artists."