Ayla Dmyterko


An oil painting on linen illustrates a night time scene. Sunflowers are attempting to ascend, however are held down into a quilted earth. Surrounding the painting is poured, curdled beeswax.

Alter pieces , 2021


A costumed folkloric femme figure stands in the Glen Etive Forest’s rewilding project among decaying trees and sprouting foliage. Her embroidered ankle-length blouse is tie-dyed green to camouflage with the surroundings. Her crown is made of found fabric and mosses from which extends elongated tendrils of ribbon in varying hues of green. In the dusky distance are two peaks known as the Herdsmen of Etive: Buachaille Etive Mòr and Buachaille Etive Beag.

Rite of Return , 2021

Moving Image

Diurnal Weave , 2022


Shadow Sisters , 2022


Warnings in the Weft , 2022


Warped Warnings , 2022


A circular vessel sits inside of a container holding sand and lit beeswax candles. Both are made of stoneware with charcoal glaze. The vessel depicts dancers chained to a ring at the top by their hair, while the container reads an incantation for solastalgia.

Reverence Relics , 2021


A woman wearing a wreath made of thin beeswax candles is lit. She stares directly into the camera. Hanging from the wreath are severed braids.

Solastalgic Soliloquy , 2020

Moving Image

A Call for Recur , 2022

Two hands with white skin hold a long light yellow pamphlet that reads POUR the FEAR: Solastalgic Synchronicities on one panel, and has the bios of Ayla Dmyterko and Lauren Fournier on the other. The background is cobalt blue.

Post-Peasant Protest , 2021

Exhibition Text

An empty grey woven polyrethane Royal Mail sac hangs open. Cross-stitched in hues of red upon it are flowers, waves, and Ukrainian embroidery motifs.

Global Talent VISA , 2021


An opened book reads repetitive lines of: I dissent from a long line of peasant revolt, I come from a long line of contentious kulaks. Holding the pages open are stoneware hollyhocks.

Long lines , 2021

Art Writing

Strips of an oil painting are woven in with satin ribbons. The weaving hangs from a wooden window pole.

If Our Paths Ran Parallel , 2019


An installation with paintings, textiles and ladders is shown as a physical collage. The space they sit within is white and lit from above.

Distance of Sea, of Years , 2019


Cross-stitched embroidery dissolves down a piece of waste canvas. The image is a close up.

Veils of Forgetfulness , 2019


Importation , 2018


A Carpathian region Ukrainian dance costume is compressed beneath a sheet of glass.

Peasants Under Glass , 2020


A derelict wooden structure sits within an overgrown brush. Projected onto it is a black and white archival image of a Ukrainian wedding. A tree has fallen onto the roof of the structure.

Future Projections , 2018


Matryoshka dolls are pulled apart and left scattered on a window sill. Out the window are prairie field fires.

The Dead Leave Us Starving with Mouths Full of Love , 2014


A collaged oil painting with two black and white centre portraits of two young women. A lade in a forest stands above holding a flower out. Beneath is an aged hand resting on a table. A beeswax candle is lit in the centre of the painting.

Prairie Portraits


A collaged oil painting, the images are oriented in varying directions. It depicts a set of hands clasping red spotted flowers, a single lit white candle, a woman looking out onto a highway through veiled transparent curatins and a young girl at the table while her mother works in the kitcen behind her.

Which Way Up , 2015


Empty Vessels , 2014


A pre-cellular telephone sits beside a bouquet of pink flowers in a warm-hued bedroom.

Ode to Olga , 2013


Two archival potographic portraits of a man and woman. On top of the images are fragments of maps and coloured fingerprints.

Impositions , 2012