
Furniture Decoration — Art You Can Live With. Working with furniture brings me a particular kind of joy. Three-dimensional objects are experienced from all sides, revealing a different picture as you move around them. There is something deeply satisfying about applying art to forms that are not only observed, but used and lived with every day. Chairs, tables, cabinets, and screens become surfaces where colour, texture, and form extend beyond the wall.


Decorated furniture has the power to anchor a room. It can become a focal point, decisively unify a colour palette, or bring cohesion to an interior style. When art moves into functional objects, it becomes part of daily rituals, adding character and warmth to everyday moments.
The process becomes even more meaningful when an old piece is given a second life. Repairing, recolouring, redesigning, reimagining, and reusing transforms something forgotten into something personal and renewed. Furniture decoration is, for me, a way of combining creativity with care — honouring what already exists while shaping it into something fresh, purposeful, and full of story.















In 2018, I was invited to curate and coordinate a cultural performance for a diplomatic function at the National Gallery of Australia, at the request of the Embassy of Ukraine and on the initiative of Christine Syvenkyj-Bailey. The performance was created primarily from Christine Syvenkyj-Bailey’s private collection, with additional contributions from the collections of Sonia Mycak and Roxolana Mishalow. I am deeply grateful to them for their generosity and trust. This project was far more than event coordination — it was about giving history a voice. Every costume, ornament, and movement carried memory, identity, and meaning. My role was to carefully weave these elements into a coherent narrative that honoured tradition while allowing it to live and breathe in the present moment. I oversaw the entire creative and organisational process: selecting traditional Ukrainian costume elements, sourcing authentic garments and objects from private collectors, and recreating historical headpieces and jewellery where originals could not be used. I wrote the presentation script to guide the audience through the story, and designed all visual and printed materials — from slides and banners to invitations, gifts, and calendars — ensuring a unified visual language throughout the event. Behind the scenes, the work was equally intricate. I coordinated models and assistants, managed the careful transport of costumes and artefacts from Sydney to Canberra and back, and balanced countless logistical details so that, on the day, everything felt effortless and dignified. What emerged was not simply a performance, but a living expression of cultural memory.

I’m back in the studio, back to normality, and ready to continue sharing what I love most — my knowledge of art, different techniques and practical skills that can open up new possibilities for your own creativity. This October, I’m offering two very different workshops, both suitable for all levels and for adults and young people aged 12+. Come and spend a few hours making art, learning a new technique and getting your hands back to the brush. I look forward to seeing you in the studio! 🇺🇦 Petrykivka: Mastering the One-Stroke Technique Discover the beautiful Ukrainian folk painting style of Petrykivka. In this workshop, you’ll learn about the history of Petrykivka and how flowers, leaves and berries are built through different brushstrokes. You’ll also learn how to load two colours onto one brush and control its movement to create variations of colour, shape and tone. This is particularly valuable for artists and beginners because it gives you a chance to really understand your brush as a tool — how its shape and size affect the mark, how to control pressure and movement, and how to master the stroke of your brush. Illusion of Distance: The Tricks of Perspective