Ayla Dmyterko's artworks reckon with the possession and dispossession of lands, objects, bodies and skies; derived from both lived and collective experience. In remedial response, she embraces a culture-nature synthesis. To be communed with ecology is to accept and trust in chaos; a continual re-ordering is what is needed to keep us all alive.
Grounded in lineages of painting, her field expands at times to involve moving image, performance, material cultures and texts; echoing the noumenal nature of cultural memory. Following off-modernist u-turns and detours, her works are animist rituals that reference psychedelia, Ukrainian modernism, transcendentalist painting and the aura of archival objects. Her painting approach is embodied and intuitive; compositions emerge in deep listening sessions through layers of light and concealment. Circling eternally recurring ways that images are used to inform desire and belief, she is interested in the artist as medium.
Dmyterko recently attended the Skowhegan School of Painting & Sculpture, US. She completed her BFA in Painting at Concordia University, Montréal and her MFA at the Glasgow School of Art where she was awarded the Graduate Fellowship at the Glasgow Sculpture Studios. Solo exhibitions of her work have been presented at Alma Pearl, London, UK (2025); Pangée, Montréal, CA (2023 & 2016); Zalucky, Toronto, CA (2022) and Lunchtime Gallery, Glasgow, UK (2021). Her work will be included in the 2026 Drawing Biennial at The Drawing Room, London, UK and has been presented in recent group exhibitions at Alma Pearl, London, UK (2025 & 2024); Pangée, Montréal, CA (2025); Hypha Studios, London, UK (2024); KIRKI Projects, Sifnos, GR (2024) and VITRINE, Basel, CH (2022). Her films have been screened with Pleasure Dome, Toronto, CA (2025); ICA London as part of the London Short Film Festival, UK (2024); Meno Avilys, Vilnius, LI (2024); David Dale Gallery, Glasgow, UK (2023) and the CCA Glasgow, UK (2022 & 2021). Her work is included in ‘Regina Art & Artists: an Illustrated History,’ published by Art Canada Institute; and held in public collections including the St. Volodymyr Institute and the Saskatchewan Arts Board Permanent Collection.
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