In his almost 40 years Rostyslav Voronko, who comes from Radyvyliv raion, Rivne oblast, has managed to restore three German churches of the 16th-18th centuries and win the hearts of German art-lovers with his pictures. However, his name is scarcely known in Ukraine and he has never received offers to work in his homeland.
Mr. Voronko, you grew up in Radyvyliv raion, later entered decorative-folkways department in Lviv, and defended your diploma in Poland. How did you get to the German artistic circles?
“In 1998 the Markian Shashkevych Ukrainian school No. 17 from Polish city Przemysl sent a request to the Lviv Academy of Arts to help in decorating the school’s interior. All those who were writing diplomas were offered an opportunity to take part, but many thought that the school had too little space for creative work. My group mate Viktor Koshak and I were the only students who agreed. Of course, it was not an easy thing to choose a subject for my diploma paper. I came up with an idea after a long-time exploration. But when I heard the poem by Bohdan Lepky ‘Cranes,’ I understood that was namely what I needed. I got an A for my thesis. Later I tried to stay in Lviv. But trips to Germany with a painter’s case brought me to an old castle which had been rebuilt for various purposes. Currently Germany’s only archive of the works of the German Democratic Republic’s artists is being stored there. There are also three studios for artists, rooms for writers, and exhibit halls. Various festivals and concerts are frequently held there. I have leased on of the studios there for several years.
“Later my acquaintances, aware of my professional level, offered to take up restoration of an 18th-century church in the village Kruegersdorf. I agreed. It was interesting to find out how this process took place in Germany. I understood that I had to master the German specifics of the work, because the legal side is very important for them. I was guided by a restorer from Frankfurt (Oder), who helped me with the theoretic aspect of restoration.
“The work in Germany greatly differs from that in Ukraine. Above all, the restoration works are under control of the organization on protection of architectural monuments, which does not permit any unauthorized ‘creativity.’ I saw once how an old church in Rivne oblast was covered with linings. That kind of thing would have never been allowed in Germany. When local residents wanted to establish downspouts on a church built in the 17th century, the organization on protection of architectural monuments did not give its permission, because there was no such facility in the past – three centuries ago. So Germans do not do refurbish instead of restoration, unlike Ukrainians. But it is hard to live in a foreign country, no matter how high your qualification is.”
Germans highly praise your restoration works in local churches. Which of them became the closest for you?
“I put a part of my soul in each one. But the church in the German village Goersdorf was a special one for me, because I put great efforts in restoration of the altar and three, almost completely destroyed icons. There is an interesting moment: during my work I found the plot of two icons in the engravings by the Belgian master of the 16th century Jan Sadeler. The restoration requires much knowledge: history, art, and certain technological methods, as well as very elaborate execution. In the course of your work you are faced with new unexpected problems, which should be solved in a proper way.”
High-quality restoration works are a problem in Ukraine. Some people explain it by the lack of professionals, others – by the lack of funding. How do you assess the problems of Ukrainian restorers? Haven’t you ever been proposed to join restoration of Ukraine’s architectural monuments?
“Ukraine’s lacks clear-cut governmental control over the restoration works. The monuments of culture frequently become property of local communities, which do to them whatever they like. Germany has its own problems too. But the whole thing looks much better, when the state is interested in funding. I have never received proposals to join restoration works in Ukraine but I would work gladly at home, because my family resides in Ukraine.”
Some people think that restoration is a revamp of the highest level. What is your attitude to your work? Can you say with confidence that in the projects you have done not only the spirit of the primary author is living, but your spirit as well?
“It is like restoration of a soul, when you replace the things that have been lost with something of your own. During restoration you should try to bring the object back to the primary state, using the technology and recipes of that time, without adorning or improving anything. Only then you can touch the forgotten things.”
People know you not only as a restorer, but an artist as well. Your gallery includes painting and graphic works, both still lifes and portraits. What inspires you to create?
“Nature. I regain myself in a living communication with it. I like to stay tete-a-tete with nature, observe it, and feel it in order to reveal its mood and stimulus on canvas. Therefore landscape is my favorite genre. I rarely come to Radyvyliv. But I like this town a lot and whenever I have an opportunity I go there. I was born there, my parents, relatives, and friends reside there. My best memories come from my childhood, and there are plenty of them.”
