 Hello everyone. Very nice to see you and thank you for coming in this early hour. I have an excuse for waiting a little bit, but we were still waiting for some people. So, I'm just wondering, I'm from Ukraine, I'm an artist and we will see now half an hour film, which is constructed of different, different projects which I've been doing through the last 15 or 17 years. So, it'll be pretty intense. I hope I'll be able to explain everything what's happening on the on the screen, but also be free to ask some questions after if I will miss something. So, we can start. So, I started my contemporary art approach from land art projects, a lot of land art festivals, and I've been creating after some land art festivals because I'm praying plants. And plants, tree is everything I'm talking about in my art. And tree has memory. Paper, paper has memory to be tree. So, I started to do a lot of sculptures with using of office paper because a huge problem of deforestation is our, like, very main topic. And much sculptures of office paper appeared. So, I was combining three branches and office paper creating new, powerful plants. And very big exposition, New Bionics Post Urban Romantics appeared, which was supported by Burning Man Global Art Grants. So, that was presented on different exhibitions and after I started to think about bigger projects, which we will see after. There are some drawings. So, I'm graphic and sculptor, and this all is very much connected. And we will see other sculptures of mine, which is made of wire. So, this is also a very big part of me. I'm doing wire sculptures. And this talks about our molecular structure, about our systems inside. And how we all are connected to natural elements. We are not something different. Those images look very digital, but actually, it's absolutely analog. It is real sculptures. And I made photos, like, stop motion photos. And after those videos were constructed. So, I'm all the time on the edge of analog and digital art, but mostly it is analog, but as well it looks digital. So, when war started in 14 years, like Russia, Tatyuk, Ukraine in 14, I could not get just doing my abstract works more. I started to do about human, about human and borders, about human body. And you see now the part of six hours live performance, which was filmed. And the name of performance is The Shell. Here we see only several frames of it, because it's a very intensive program. So, that's about, like, can we see our borders? Or can we step out of our borders? It's possible at all. Like, can we recognize what is ourselves and what the borders? Here we see the project, which is named Gladici, which is viewers. Like, actually, a lot of stuff comes from, like, visual propaganda. And this project is a lot about, like, people watching. This is another sculpture of mine. This is Ronner. And this is dedicated to my uncle. My uncle, Alexander Nadura, he has been a human-class professional runner. And I've been always fascinated by that. And this is another part of my art is crystallography. And crystallography project, that's also a lot. That's installation and public art sculptures, which you will see. So, yeah, doing videos of processes of sculpture is a lot. And this is 3 meters and a half sculpture, which was constructed, travelling round and deconstructed. So, that's about, like, leave no trace and, like, construction and deconstruction. This is much bigger sculpture, which was in Contemporary Arts. And this is France, Paris. And Cisbe. So, this big sculpture was home for Ladybugs for two years and a half. When we demontated it, it was, like, myriads of those bugs. And this is Kiev, Kiev Botanical Garden, and 50-metre sculpture made of, so this is big welded sink already. And it led to another sculpture, which was placed in Dnipro, Ukrainian city Dnipro. And this is, like, for children's centrum. This is also crystallography project, but it's about mirrors inside spaces. So, it has three windows and you look inside and you're just losing in all these, like, reflections. And also it's very huggable because it's fluffy. And talking about, like, inside spaces, here you see it's 14 meters life installation with interactive media and sound art. But we don't hear here sound art, but it was written by French artists. That's another project. So, here you see stages of it. It's all about recycle, all about metal, which is in rivers. And this is placed on the river. So, it's my one river sculpture, water sculpture. And some drawing, connection. This sculpture I had, it fold in the water. It was carved by water. And I was very much inspired. And that's how the big series of bimorphs started after I had done this anti-knowing sculpture. And I was drawing project in big sculptures, which started of lacon and antiques. So, I started to combine idea of plant and idea of humanity with antiques cultures. There was petition and I won and very big work started, like, more than seven months. I've been working with these antiques cultures and there was a thing to make not a replica of it, but make, like, give spirit of these antiques cultures. Because it is, like, unique code, like, all humanity code. Like, we recognize antiques cultures, like, we understand it, like, all humanity code. I took really long time to make these cultures, to make, like, from idea to reality. This all is concrete. So, we see from play after it's, like, counterform. So, it's big work. And big parts of it, it's heavy. Like, it's very funny. I mean, we see it very often. It's actually, like, many weeks and months of work. So, like, take out those counterforms after clean, clean it. And after, like, prepare it for casting with concrete. So, there's already processes of casting. And there's already ready forms. Second chance is not possible. So, while a form is casted with concrete, the counterform is broken. And that's it. So, if something's wrong, that's only one chance. So, that is very challenging. Yeah, and the hard metal is inserted in sculpture to, like, to grow out all the, this, this made of bronze and after, after concrete. So, just have a pace of contrary. And sometimes very unexpected things happen in. So, it's all, it's all challenging. And, like, every day work. And it's very complicated to explain how much work is happening. No comments. So, yeah, working under the rain, working in different, different conditions, because timing is timing. And it is, it's all very serious, like, these sculptures stand in a Ukrainian sculpture park. And, like, opening is very responsible thing. And all the artists there participating had one sculpture. I had three sculptures in this park. And those three sculptures were made of five pieces. So, it is, like, one, a little bit small sculpture and two sculptures which are made of two pieces. So, there was five, five pieces of big concrete which were produced at once. And in some moments, there was some people participating. Some moments, there was the biggest amount of people on location was 17 people. And this is also a very interesting human factor, how to work in team, how to organize all the team to work, like, properly not losing time. So, yeah, I'm, like, captain of the ship, trying to have all the time very good team, very good spirit. And, like, everybody have fun. And a matter of fact, many people find working with me like dynamic meditation because it gives a lot of answers. It gives a lot of inside understanding. Because it's very meditative when you're just, like, coming to sculpture and, like, focusing it. So, you're diving inside yourself as well. So, it is very therapeutic for me, definitely. So, very interesting moment. Like, all the smart people who were coming to location where it was constructed were asking, but how are you going to take those cultures from there? That was very smart question. Because that was really complicated. So, you've seen the video before, coming on the top and only like this we had to deconstruct. So, it was really complicated. And so, here we are arriving already on the location in the western Ukraine. And it's, yeah, when concrete is flying, it's always like, this moment, this beautiful moment. So, it's pretty heavy. It's around one ton, each piece. This lagoon is most heavy. Bigger, there is, like, ton and a half. And on the place, it's also, it was nine days of installation on the place, because, like, one part is connecting with another part. And it's after, like, needed to be, to be finished. So, it's also, like, day, night, day, night, day, night, like, morning, night, work of the time. And when everything is finished, it's, it's opening. And so, three sculptures of this Syria lagoon, Aphrodite and Atlant. So, why I took those three? Because they are representing idea of struggling men, idea of suffering, like, fright and woman, and idea of, like, brain. Because Atlant is symbol of, I don't know, for me, maybe it's something. I'll leave it for somebody, but it's, like, brain. So, those three sculptures are okay and standing now. And sometimes I'm coming to them to do some seasonal peeling. And it's very beautiful in the night, because it has too much warm and cold light. And, yeah, that's, I'm doing seasonal peeling for sculpture. As it is concrete, like, first, first one year, it's very good to care about concrete after it's, like, settled. And that's it. And we're coming to cultural lungs. So, that was 2020. And organization, which is working with topic of informing people about cancer of lungs and asked me to do visual, like, public arts culture. For me, there was incredible opportunity to say publicly that a human is a plant. That's what I think. We are, we are plants. We are not somewhere far from plants. We have to understand ourselves like plants. And, like, from this point of view, many things change. At least we're, like, stopping the harm nature and ourselves. So this culture took three months and half. And that was incredibly intense. This is too fast for doing such, such sculpture, but we managed. First, it was installed just in the middle of Kiev at Marinsky Park for two weeks. It had interactive sound as well. So when you, when it was coming to, towards culture, that's sound of different people talking about their stories about cancer of lungs. But actually, mostly people recognize this sculpture, like connected to COVID, because it's 2020. That was the most number of deaths that time. But I'm going to say post, like this, this is like connected to, to post. Because visually, like people recognized it, that it is connected more with COVID. But as well, somebody was saying, Oh, it is weeks. That could be really exciting. I agree. Very complicated to put sculpture when it's really cold, because, like, finishing with concrete is needed. And when it's like freezing cold, it is, it is quiet complicated. So there was displayed there. And after we moved it to Kiev Botanical Garden, National Botanical Garden, and there was like, very nice opening already there. It became, so now it's already two, two years, a bit more than two years, this culture is standing and people are nonstop doing few photos there. The grass never grows under, under sculpture, because it just like all the time people stand in there. But I must say, this culture is dedicated to my little son who died and his lungs were filled of water. So it is sort of meaning of this culture. This culture is dedicated to women, to stereotypes about women, to borders about like around women and everything like this. So there was an organization who made research all over Ukraine. And there was very small like 30% with some women who self-realized self, like doing what they want to do in this life. And they wanted to make like visual, visual stuff about that. So this culture has two faces, actually three faces, but sort is hidden and sort is only for those who know. It is, on the sketches you probably seen, it is an open face of women looking forward and sad face at the opposite side. But it's around sculpture and like it's present in us all the time. Like a tree which lost big branch or part of the tree. It is sad, it is very bad, but still you need to keep on growing. That's what I think we need to learn from plants. Like plants never want to kill themselves. Plants never want to kill another plant. They just want to leave and grow. And this is essential thing that we need to understand. Ta-da! This moment. So this is also very heavy. Yeah, this is scary. This is really scary. And this heavy sculpture is flying just for one point, one, one point. So this is moment like to check if everything is well, but I had, I always had very good team of well, there is very, very trustful people and everything was done really well. So luckily this sculpture is alright. Just not very long ago that was shooting another bombing of Kiev, which one missile was just, just near. But sculpture is alright. Like I, I have known that it's okay. So from the project to realization and now we are coming to amazing project, which started two years ago, more than two years ago, and this is more than two years of work, Dear Dragons. So this project came out the idea of recycling, of plastic, of anti-consumerism. And amazingly, this project is initialized by company selling toys, which is strange, but great at the same time. So I took this project and started to produce. So it's family of dragons, mother and father dragon, and there are three acts. The composition, which is, it's like interactive composition to which you can come and sit and like sit under the wing of mother. There is like three interactive points. I must say from the beginning that will be like part of production of the sculpture. So that was the most complicated sculpture I've been doing for now. The most complicated of different, different things, like from the beginning the material, like when you're working with recycling material, it is complicated from the beginning. And also like, and other things were very complicated in this project, but the most complicated thing is that sculpture was finally finished, like totally finished, perfectly finished, finished, finished. And I'm coming to to studio and saying, so we're installing sculpture and guys are selling, saying, yeah, you're very fanatic of your work, but did you hear it's both failing? And I've been planning to install this sculpture on 27th, 28th of February, but 24th was started. So this incredible, like non-stop work sculpture stayed just in Kiev, just in studio, non-installed. And I really pray, like one day it will be, it will be displayed. Because, so this sculpture also is a museum of toys. A lot of toys inserted there are old, some are new, and it's like you can recognize enough toys, you know, million of toys you don't know. But like if you see this, that's excursion over the body of those dragons. That's already an interactive game. And working with this, oh yeah, I must say about this plastic. So recycled plastic of this locker that's bottles, like with what we close bottles. It looks amazing. It's produced in Ukraine, those plates of plastic. Long time, needs some cheering up for sure. Long time work. So this beautiful plastic was produced especially for dragons. So we had a number of displays for father wings, for mother wings, for nest, and eggs made of epoxy. So this little bit toxic, but I'm using normal protection. And eggs and wings of mother have light inside. So it's a photo of light inside. Here we're working with three people, sometimes it was one, two, three people. All connected, one friend of mine asked like, but if in the night all toys will jump out of the dragons, now they will not. Everything is connected hard with metal and glue. So that sculpture is for kids. And kids really love to take everything out. So it's done really, really strong and polyurethane glue like stick to everything. So toys still have each shape. And like stays to be museum of toys. This very famous photographer from France. And they have beautiful eyes as well. I really hope that this huge work will be displayed. This was the most treasured present for this culture. A friend of mine brought this book Marley. And I said, like, no, it is so beautiful. Like, but he said, no, let it be here. Like it is such a marvellous culture, like let it be inside. And book Marley is just just here on Father Dragon. And yeah, as I said, war started here. My first drawings, when war started, I was not doing too much of drawing because it was moving, replacing. And I started Project Berginia. Berginia comes from Ukrainian old culture. It is mother protector. We have this symbol since I think 12th century. Somebody said before, but I don't know. So Berginia is a tree, is mother, is woman, and is country Ukraine by itself. And my sculpture, I have this symbol as I'm working with trees all the time. So it came all together. But this mother, this tree was bombed. And you will see parts of this culture are bombs. We were welding it under the rain. And it was amazing. Like, doing metal is many peaks. It's like once in a half doing just wood and doing metal. And after we decide this day, we weld it. And this day is raining. Okay, we can weld it under the rain. Like, my new check, amazing welder, say, Vaget Jemo, which is like welding tree. He was really like, okay, we will be welding tree. And after concrete starts. So my sculptures are really like body. So branch is an idea is so metal is bones. And after fiber is like muscles. And we are coming to surface like skin. So for me, it's very ritualistic, like all the process of. So fiber is, cannabis fiber or linen fiber, it's also plants. It's like it's all made of plants. While it is still liftable, it is half of work. While it's still liftable, we put it to the place where it's possible to take by crane. So there were several times removed after finishing of this sculpture that that's like totally impossible to lift it. Even 20 people can do this. Like, this is middle project. This is still okay to lift with like 10, 12 people. So when I arrived to Czech Republic, I started to search how I can do this project because that was already in my head from the beginning. And I applied to, I received a grant from a Czech center and artists in a race connection. And that's how it all worked. Because that was like, nobody was planning this project, nobody wanted this, nobody wanted this culture. I just came and started to do it. And that was very challenging because when you started to do big public arts culture and you're not sure if you will have some money like to finish it, but I was not thinking about that. I was just working and working and working. And yes, sure, I put much, much what I had in this culture as well and didn't earn anything. But I just needed to do it because it's, it's my fight. It's my fight against this aggression. So you see Lenin's, why Lenin's? Because that symbol already symbol of this system, like trying to grab Ukraine. And I made them like bombs, three bombs, which are like insert, which are falling, which are like coming to this tree, but crushing themselves. They, they are just crushed. It was funny to crush their heads. I enjoyed. But also that was very ugly to work with them because I always work with trees, with something where I really love. But that was very hateful to work with Lenin's, but still my people, Ukrainian people, have so much like dealing with hate and disgust now, which we didn't want to have. So I took it like my practice as well. So this culture is really strong. It is possible to climb by day of installation. And another sculpture will fly, which is also you can, it's not possible to get used to this. It's, it's always very fresh and it's always like very scary as well. I think like each time I have more white hair on my hand when the sculpture is flying, but it's also very, very great moment and very pleasant. Whatever I say, I'm progressing as well in my technology of producing sculptures. And this time, like normally when I'm transporting sculpture, it is some scrunches on concrete. This time my technology, perfect. I mean, like I progressed through different sculptures a lot and now even now scrunches of the transportation, which is incredible because all the, all the heavy weight like tone, tone and 200 or 300 is on one point and sculpture has babies. So this is a complicated, complicated symbol. As you've seen at the beginning, this model protector, it has birds or babies on its branches. And it has candles around because it's ritual sculpture for people to come and pray and light candles around it. And here was the amazing opening. The sky was like, like burning. It was very, very dramatic and intense and beautiful at the same time. And people were lighting candles. Interesting. Sirens. In Czech Republic each Wednesday they do sirens just to check. And they made this video with sirens. It's now reality. In Kiev there is sirens almost every day. And so it should, it should be for, it's a lot of Ukrainians in Prague and I hope that will give some possibility to come and pray to light a candle to have, I don't know, some moment. That's it.