Lviv ceramics, and Anna Lysyk’s works in particular, are well known at The Day, and adorn the editor-in-chief’s office. Just before the New Year The Day’s correspondent in Lviv was asked to interview the ceramicist from Lviv: to inquire about her feelings, her work, the state of Lviv ceramics and of the fine arts in general. To our great surprise, she was downbeat, saying that “Ukrainian ceramics are dying.” Why? Aren’t there any people in Lviv (and in the whole of Ukraine) able to appreciate the fine art of ceramics?
Shortly after I got another task: to find ways to draw the Lviv authorities’ attention to the ceramicists’ problems, and to tell Anna that there are many people in Ukraine taking interest in her works. The Day also hopes that some will provide her with financial support.
There are more than 100 famed Lviv ceramicists (Lviv ceramics are a unique phenomenon in Ukrainian art), and our interviewee is in the top ten. Art critics consider her to be a ceramicist of the highest order. The leading Lviv specialist in ceramics Orest Holubets says: “When I was taking the ceramicists’ works to the exhibition in Munich, the German customs officers didn’t want to permit Ania Lysyk’s works to pass the border saying that they are not modern. They let me through only after I showed them my book The Ceramics of Lviv, where the development of the Lviv Ceramics School from the 1940s to the 1980s is retraced, and where Anna’s works are described and photographed.”
The professor in art criticism, Roman Yatsiv adds that Lysyk doesn’t have any cliches: “Her images appear spontaneously responding to her mood and feelings, that is why they are always unexpected, and the forms in which those images are embodied are always well-founded. Anna doesn’t have any pre-set methods, she’s able to change them according to the task she formulates. A harmonious component dominates in her thinking.”
Lysyk’s works are almost weightless, like paper, evidence of her very high skill. What is more, the ceramicist decorates her works herself and this process sometimes lasts for several months. That is why her works are like precious pearls, each of them is unique.
The ceramicist’s harmonious thinking is rooted in her genes, as her parents were also prominent artists. Her father Yevhen Lysyk is a world-famous theater designer, Shevchenko Prize winner, People’s Artist of Ukraine and the principal designer of the Lviv Opera House for many years. He set the scenery not only on his home stage but in many theaters of the former Soviet Union and beyond. Despite his death 20 years ago, plays continue to be staged with his scenery. Ania’s mother Oksana Zinchenko is the production designer at the Lviv Opera and Ballet Theater.
“Since I was little I’ve liked modeling from plasticine, and I still keep those funny figures in a separate cupboard,” laughs Anna. “I started modeling at about six, motivated by my first love — my neighbor who came to see me, made tanks and very long snakes from plasticine. Even my father’s works didn’t impress me as much as this boy’s ‘masterpieces’ (laughing). He became a journalist and forgot about his plasticine child’s games, but I’m still suffering… (laughing).”
Did your parents help you develop your gift? Maybe they took you to a study group?
“No, they didn’t, because in my childhood I was often sick and hardly had time to do my homework… Even after school I didn’t enter the institute as I couldn’t prepare well because of being permanently sick. I spent a year working and studying at the preliminary courses and took lessons from Karl Zvirynsky (the artist and teacher who taught the outstanding contemporary artists Zenovii Flinta, Andrii Bokotei, Oleh Minko, Liubomyr Medvid, Roman Petruk, Ivan Marchuk and others – Author). Then I entered the Lviv Institute of Arts and Crafts, the ceramics department.”
Who taught you?
“My group was taught by Borys Horbaliuk and Taras Yanko.”
Your ceramics are often compared with highly-prized Chinese ones. Who taught you this technique?
“I can’t say that I work using one technique… The things that people will use in their everyday life (for example, vases or pots) have to be of high quality! As for my creative works, I can’t do anything — I work using the technique I’m interested in. All ceramicists work like this. Now we have a possibility to look through the ceramics catalogs and get ideas from them. We also observe our colleagues work and methods. And it’s also important to see that somebody is better than you are — it is very stimulating!”
Ania, have you ever regretted that you have devoted all your life to ceramics, as this is a tough profession?
“I don’t know… I thought about it recently. Probably, if now I had to choose a profession, I wouldn’t devote myself to it… It’s difficult now. Then, back in the 1980s, it was a very prestigious profession, and the ceramics department was the toughest to get into. It was a profession in demand, there were many ceramic factories in Ukraine and everybody could find work. Moreover, Lviv ceramics were very popular — our va-ses, plates, pots and other products were willingly bought as presents because they were nice, surprisingly warm and, what is important, not expensive. When I came to our factory in 1989, things had already started to fluctuate. This enterprise doesn’t exist anymore. Three years ago, we, 10 ceramicists, got together to buy the kiln. This is how we work.”
Where are your exhibits held?
“There are very few of them abroad. In Lviv every two years I take part in the exhibits of Lviv ceramics. Now this tradition is still alive. However, it’s very problematic as every year there are less and less people willing to do something. I’ll regret if this tradition dies as it is almost unrealistic to organize an exhibition on your own, it’s very expensive.”
Do you have your favorite theme?
“I like nature a lot. I live near the decrepit park on the High Castle, many motifs can be found there…”
What do you like more, applied or decorative art?
“When I worked at the factory applied art prevailed. Now I do more creative work. I don’t have any conditions for applied art — you have to found, to make a form. Certainly, I know how to do it, but I have nothing to gain from it. Unfortunately.”
Do you often get prizes as a sign of recognition?
“The source of our prizes is the village of Opishnia in Poltava region (there the exhibitions and competitions of decorative ceramics “CeramPEAK in Opishnia!” are held. Last year Anna Lysyk won the first prize for her work The Winter Journey – Author). The only Ukrainian enthusiasts supporting Ukrainian ceramics live in Opishnia. They even come to Lviv with their mini-bus to take our works to exhibitions and symposiums. This way we are rewarded — not with money but with diplomas. They try not to leave out a single participant!”
To what extent are ceramic products popular among Ukrainians? Are they more interesting for foreign tourists?
“I think ceramics are dying in our country. In neighboring Poland they are doing fine. In Germany even better. And what do we have? All the factories are closed down. Recently they closed Baranivka porcelain works (Zhytomyr region – Author). I remember it since the time when we were students and went there for practical training. Now there is only one factory in Sumy. And of course, there are lots of cooperatives. But their products are awful! That is why people lose taste for real ceramics. And nobody cares about it.”
How can the situation be changed?
“Obviously, here we should talk not only about ceramics but people’s attitude to culture and the arts in general. In our country the middle class, who was the main consumer of cultural values, has been destroyed. Now the main class in Ukraine is the buy-and-sell one with its inherent questionable tastes and corresponding models of behavior. Since this class dominates in Ukraine, its ideology dominates as well. I’m saying that people have to work and not to resell since these are two absolutely different ways of thinking and acting. Undoubtedly, with time the situation in Ukraine will change. But when is it going to happen?”
