Ayla Dmyterko b. 1988

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, the Ukrainian Avant-Garde, 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.

Recent solo exhibitions include Ring Around the Sun & We Rage On, Alma Pearl, London (2025); Liberate Thee, Angel of History, Pangée, Montréal, Canada (2023) and Vyshyvani Kazky, Embroidered Stories, Zalucky Contemporary, Toronto, Canada (2022); The Story Began With a Beet (It Must End With The Devil), Pangée, Montréal, Canada (2015). Selected group exhibitions include Fools for Truth, Pangée, Montréal, Canada (2025); Viaggi / Journeys, Alma Pearl, London (2025); Antigone Revisited, curated by Marcelle Joseph, Hypha Studios, London (2024); What We Mean to Say, Banff Centre, Canada (2024); Soil Horizon, KIKRKI Projects, Sifnos Island, Greece (2024); Bitch Magic, Alma Pearl, London (2024); and The Grass at Our Feet, VITRINE, Basel, Switzerland.