Contemporary expressions of cultural heritage and artistry not only help define Ukraine’s national identity, they also tap into the shared emotions connecting all of humanity. Founded in 2020 by Lucia Bondar, Ukraine-based Creative Publishing produces books that highlight innovators bringing fresh perspectives to historic symbols, concepts, materials, and techniques through their images, crafts, cuisine and product designs. The five artisans below are just a few of the many visionaries shaping this cultural evolution.
Five Ukrainian artisans you need to know
Anna Senik
Anna Senik, pioneer of Ukrainian ethno-photography, works with museums, craftspeople and ethnologists to create atmospheric photoshoots with models wearing traditional authentic folk garments, as depicted in the book Ukrainian Folk Fashion co-authored with embroidery expert Yurii Melnychuk. 'The constant theme of my photos is the age-old beauty of traditional Ukrainian culture,' says Senik. 'Now, in times of war, when they are trying to destroy everything Ukrainian, the issue of preserving our own identity is more acute than ever - and here artistic visualisation comes to the rescue. The questions, ‘Who are we? What are we like?’ are answered in colours and forms, affirming the invaluable uniqueness of our national heritage.'
Sergey Melnitchenko
Sergey Melnitchenko, founder of conceptual art photography school MYPH featured in the book Conceptual Photography, captures images that expand and diversify cultural dialogue. 'I can make thousands of photos like the 'Tattoos of War' series with every person, every child and every brave military person from our strong and rebellious state,' he explains. 'Everything happening now is our common destiny, our history, written with blood every day. All my projects, even if they look like documentaries, contain an artistic component. When viewers see my works about the war, I want them to feel the same emotions as the characters in the photoshoots—and millions of Ukrainians.'
Igor Mezentsev
Igor Mezentsev is a chef at Fairmont Grand Hotel Kyiv and the co-founder, alongside food photographer Dmytro Bahta, of the Topot: Bridge project featured in the book Cooking in the Wild. In 2021, a five-day hike in the Carpathian Mountains saw international celebrity and novice chefs return to the roots of Ukrainian gastronomy by foraging ingredients, sourcing meat from farmers and inventing recipes cooked over fires and coals. 'Our goal was not to interpret or reimagine tradition by adding fusion elements, but to create something genuinely new where ingredients are the focus, followed by the dishes crafted from them,' says Mezentsev. 'My team and I continue searching for what truly defines new Ukrainian cuisine. We discovered it is rooted in the nature around us, artisanal producers and the stories born from the search for new and rediscovered ingredients.'
Oleksandra Rudenko and Yuriy Vovnyanko
Also reimaging ancient ways is Oleksandra Rudenko, founder alongside Yuriy Vovnyanko of Ruda Studio. Profiled in the book Contemporary Ukrainian Crafts, the team makes furniture, lighting and décor fashioned from straw inlay marquetry. 'This is where our continuation lies as a people, a culture and a country,' says Rudenko. 'Our work’s multilayered mission is grounded in the past (memory), the present (time) and the future (continuation). Now, more than ever, we feel a profound need for authenticity and continuity. After centuries of foreign domination that imposed alien cultures and values on us, we are on a journey of self-discovery. As designers and artisans, we honour our history and revive traditional forms, ensuring our cultural continuation and global presence. By rediscovering our true selves, we can ensure we never lose our identity again.'
Oksana Levchenya
Textile artist Oksana Levchenya, founder of OLK Manufactory, also features in Contemporary Ukrainian Crafts for her studio’s vibrant weavings that, sometimes playfully, translate traditional motifs as contemporary patterns. 'What are we aiming to convey through these interpretations—do we want to show common traits characteristic of all humanity, or do we want to separate ourselves through our identity?' she asks. 'Identity is given too much importance. The universality of craft techniques and their improvement unites different cultures of people, cultivates creativity and creates prerequisites for a humane and creative world where the virtue is creation, not destruction.'
