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S&U interviews

War & peace

30 March 2023

5 min read

After the anniversary

Ukrainian musician Lyuba Reznichenko reflects on the war’s anniversary and on the aid given in so many ways. Interview by Peter Robertson.

Peter Robertson

Peter Robertson is Christian Aid's senior humanitarian journalist.

A woman sits on a chair in a field holding a large stringed musical instrument.

Lyuba Reznichenko playing her bandura.

Christian Aid.

Christian Aid first met Lyuba Reznichenko in July 2022 after the then-25-year-old had fled her home, and her studies at the music academy in Dnipro, for a remote village in western Ukraine. She was sharing a bungalow with three families, including a friend from her church in Dnipro.

Her parents, brother and three sisters were still in Kherson, under Russian occupation - they were safe but Lyuba could not get to them. She spoke about her worries and said she missed playing music but was enjoying the nature around her.

I caught up with Lyuba, in Lviv, via a Zoom interview. She updated us on the liberation of Kherson but explained her parents were under constant shelling from the Russians.

Lyuba plays the bandura – the national instrument of Ukraine. Her father advised her to take her bandura with her when she escaped, so if she ended up with nothing, she could still busk. She has since staged performances in Lviv city centre to raise people’s spirits and talked about how emotional people get: “They all want peace and victory,” she said.

She also spoke about her faith, the work she has been doing helping refugees and the support she received from Christian Aid’s partner, Hungarian Interchurch Aid.

Lyuba said when she looks back at the past year, she gets frustrated:

“It sometimes feels like I am ready to succumb to all that. But I understand that we cannot do that. We must hope, we must pray. I do believe that God will help us and victory will be ours.”

What was your life like before the war?

I was studying at the Music Academy in Dnipro. Before that, I went to see my parents in Kherson during the New Year holidays… I was planning to go visit them again in March, but 24 Feb changed everything. I was in Dnipro and my entire family was in Kherson.

What did you feel when you learnt about the Russian invasion on 24 Feb?

Like the majority of Ukrainians, I started getting phone calls at 4am from my friends who were saying: “get up, the war has started.” It was horrible, I was very scared as we heard the first air raids and explosions. Horror is the only thing I remember about that day.

What happened next?

I stayed in Dnipro until mid-March. To avoid plunging into panic and depression and as a believer, I will be honest with you, I prayed a lot. I do believe that God supports, protects and helps. The church I used to go to opened a centre for the first wave of refugees from Kharkiv and Zaporizhzhya regions. As my own family was in the area under occupation and I could not do anything to help them, I decided to start helping those refugees.

Then I learnt of an opportunity to evacuate to western Ukraine in March, I grabbed it. This is how I ended up in Transcarpathian Region.

What’s your experience of interaction with Christian Aid?

I stayed with a very kind and hospitable family in a village there. They have many children and helped other refugees and I helped them every time I could. Then, in May I learnt of the Hungarian charity HIA, Christian Aid partner, and registered with them…

They supported me financially. As a student, I did not have any means. I could not ask my parents for helps as they were living under occupation and banks did not work there…

How did you stay in touch with your family?

It was a very difficult situation. There have been protracted periods, like a week, two weeks and a half, when I could not get in touch with them as there was no phone connection, no internet in Kherson. I was horrified by the news I read: a strike here, an explosion there. I was thinking about my family all the time.

But there were moments when I could reach them on a chat app. The connection was bad, but still, and when you hear the voice of your nearest and dearest, that’s a great relief…

How is your family now?

Kherson was liberated on 11 November… But then the situation only deteriorated because the Russians were shelling it from the right bank almost non-stop. My parents tell me that it is going on almost without interruptions.

When did you move to Lviv and return to Dnipro?

At the end of August, I moved to Lviv where I met other believers who were actively involved in charity work. I worked with them, too. We staged performances in the city centre. I played bandura and sang patriotic songs to raise people’s morale.

Then I returned to Dnipro to complete my studies… I continued cooperation with this organisation there… We were quite active there, too. We toured the region with performances, I played bandura a lot.

What is people’s reaction to your performances?

The reaction is abundant. People do react to my songs. They cry, too. They become very emotional. They all want peace and victory.

What do you feel about the first anniversary of the war?

It is all very difficult. When it all started, there was hope that it would end in a week or two. And then a month passed, another… Still there was hope that it will just come to an end.

When I look back at the year, I just become frustrated. It sometimes feels like I am ready to succumb to all that. But I understand that we cannot do that. We must hope, we must pray. I do believe that God will help us and victory will be ours.

What do you think about the UK charity organisations helping Ukrainians?

First, I want to thank you from the bottom of heart for supporting us all this time. This is an awful situation and many Ukrainians need help. Especially those living in eastern Ukraine, in hot spots, which have seen fierce fighting, the newly liberated territories where people have no place to live, where they lost loved one… Those people need more support.

I would like to say that more aid is directed there. Still, it is impossible to live there. It is not safe at all because of the non-stop raids and explosions. Those people who evacuated to the west of Ukraine need help. But they sometimes cannot get it because all the attention is focused on the east.

So if you can it would be good to distribute all the assistance among those staying in the east and those who moved here, to the west.

Interview

Art

Attention

Culture

S&U interviews

6 February 2025

5 min read

Interview: Alastair Gordon on the artist’s attention

Why the overlooked and everyday capture the creative gaze.

Jonathan Evens

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

An artist sits in front of a board covered in images, canvases and paper.

The careers of artists rarely progress in a simple linear fashion. That was very much the experience of Alastair Gordon in 2024. Gordon is co-founder of Morphē Arts, a painter, art tutor at Leith School of Art and a contributor to Seen & Unseen. He works from his studio in South London and exhibits with galleries and art fairs across the UK, Europe and the US. His experience in the past year opens up fascinating avenues into guidance, focus and prayer.

He says that: “In many ways, I achieved none of the goals I set for myself last year. I didn’t generate more income in the studio than the previous year, I wasn’t invited to exhibit at the prominent LA gallery I had in my sights, and I didn’t make it into Modern Painters magazine.

Yet, I had an extraordinary year exhibiting that excelled my expectations. Exhibiting at An Lanntair Gallery in the Outer Hebrides marked my first museum show. I completed my first public commission for a church in South London, and my fourth book, Lost Things, co-written with the wonderful poet Ed Mayhew, is ready for release next month.

This past year taught me a valuable lesson about not fixating on goals as defined by the art world. Instead, I learned to focus more on what truly matters: the work that really matters and the people I hope to connect with through my painting.”

One of the surprising opportunities that came to him in 2024 was a commission to paint for a church. He says of this that: “It was a wonderful opportunity to create a painting for All Saints, Wandsworth. It’s unusual to have the chance to make a large work that resonates so deeply with my Christian faith. The painting is centred around the theme of prayer, and I aimed to draw on art historical references to prayer while incorporating the prayers of the current church congregation.

When I was working on the imagery for 'Prayer of the Saints,' I focused on key ideas related to the prayers of the church congregation—past, present, and future. Commissioned to complete the nine vacant panels in the chancel, I faced a unique compositional challenge.

The motifs of olive leaves, lilies, white roses, pebbles, and feathers symbolise quiet petitions to God. The central panel features an open Bible to Philippians 4:6, accompanied by a handwritten journal with a sketch of a stained-glass window and a prayer of Augustine, as well as a broken mobile phone that represents a longing to communicate.

I included images of Wandsworth, Wimbledon, and Battersea to reflect our prayers for the local community, alongside portraits of current missionaries and a world map highlighting our prayers for God’s mission abroad. A portrait of a cherished brother who died young serves as a poignant reminder of our prayers for lament and hope.”

As a result, he says: “The painting features flowers like white roses and lilies, which are often observed in Western art as symbols of prayer, alongside images of the local community, held in reverence by the congregation and the missionaries they support worldwide.”

The philosopher Simone Weil suggested that attention, taken to its highest degree, is the same as prayer. Gordon says that this insight on attention and prayer resonates deeply with his experience as an artist: “When I engage fully in my work, that heightened attention feels like a form of prayer.”

An altar is surrounded behind by a curved wall displaying art work on panels. — Prayer of the Saints, Wandsworth

Looking at the overlooked is central to my artistic practice. I feel a resonance with artists of the past who have focused on the everyday moments.

His latest book project, a collaboration with Ed Mayhew, touches on similar themes: “It started with a glimmer. Two years ago, Ed sent me a poem and asked if I would like to create a painting in response. It was the most beautiful poem and an enticing invitation. I made a painting and sent it back to him. He replied with another poem, and I responded with another painting. This back-and-forth continued, and before we knew it, we had created 25 poems and paintings in collaboration.

The connection between words and images was foremost in our thinking for this project. I didn’t want to illustrate so much as to respond to Ed’s words through paint and drawing. Similarly, when Ed returned my paintings with words, he aimed not so much to describe but also to converse. Our hope was to create an equal exchange between word and image, allowing each to complement and enhance the other.

Lost Things is a precious collaboration. We are very grateful for this partnership and the unique book it has produced. Lost Things explores all the things that go missing in life, the hopes we have for their return, and the love we share for the overlooked. This book explores the oddities that have been misplaced or forgotten—strange objects that wash up on the shore, appear in your sock drawer, or disappear into the loft for decades. It also reflects on the people we have lost or forgotten. In this way, the book takes a playful approach while also pointing toward deeper truths.

Paying attention in this way to what others have overlooked or lost seems very much the task of artists: “Looking at the overlooked is central to my artistic practice. I feel a resonance with artists of the past who have focused on the everyday moments that might otherwise go unobserved. Most often, it’s the mundane objects that have become so familiar that they almost become invisible.

Focusing on details—colours, shapes, emotions, and often overlooked objects—allows me to connect with something greater. It feels like speaking in tongues; the act of creation transcends words and expresses something less tangible. At times, the meaning isn’t clear, and I need to wait for it to be revealed.”

All this would seem to have been very much the case in the past year, where unanticipated opportunities led to wonderful work and exciting new projects.

Visit Alastair's site

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