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Halyna works with painting, graphics, video, and performance art.

As full-scale war escalates in Ukraine, she explores the re­ ection of war on the form of things and the world around her.

In her “Protected” series, she documents the protection of cultural monuments of Ukraine and represents them in new artistic images. The material in which the sculptures are wrapped seems to regenerate them, making them look like new art objects.

There is a transformation into new forms in which the image of war appears.

Solomiia works with oil and acrylic paints, adding lines with colored pencils, a combination that showcases her love of lines and strokes. Addressing psychological strife in her work, she strives to find a "place of strength" - where one can gather energy and keep moving. For many this place is their home. As home, as she knows it has been stolen, she has shifted her focus to childhood memories that serve as a shelter for the inner child.

She sees memories of childhood as a means to reduce stress and enhance emotional healing.

Anastasiia seeks to challenge the stereotype of textiles as a decorative and applied medium for women's handicraft by using it as a medium for contemporary art. Her textile panels are sewn together from patches of embroidered towels and lacework handkerchiefs, crafting sophisticated and multilayered visuals by combining various techniques. She uses symbolism as a powerful reminder of the ongoing war and its impact on Ukrainian society.

Polina expands the concept and perception of painting, which she positions as an object. She works with an awareness of corporeality through anti-anatomy. Examining corporeality in nature, she reveals it through the shape of a tree while looking at the human figure in the circle of anthropological questions revolving around "dark ecology." War awakens her sense of loss, the value of life, and the fear of death. Each loss is the loss of the whole world. She sees us all in this body together. By remembering this, we give the future a chance.

Olga's art is greatly influenced by her education in the field of restoration and working with art monuments. As part of her residency in Portugal, Olga created the series "Body in the Temple," in which the artist questions the system of the anthropocentric world and nuclear deterrence. The artist believes that all the international initiatives created to prevent war have shown their inability to do so. That is why she decided to focus on finding an alternative structure with hope. Inspired by the special constructions of Catholic churches, which make us think about the size of man in relation to God, Olga has created works in which she immerses her imperfect characters under the church dome. While god-fearing is a not-often-mentioned Christian virtue, it is precisely to this that the artist turns. She shows the viewer the search for the right place for the ratio of the size of the body to the size of God's will. Olga calls the viewer to internal responsibility and believes this is the only effective form of restraint.