PROJECT-BASED PRACTICE

The practice is organised through projects rather than by medium. Each project begins with a specific artistic problem and may develop through a series of works, a spatial configuration, moving image, text, publication, or a combination of forms. The medium is selected according to the conceptual, material and spatial requirements of the project.

Selected works and series: Tondo Cycle · NINE—Human Structure · Echo of the Ages: Panopticon of War

The practice is grounded in an evolving artistic method that examines how form emerges through material, gesture, duration, selection and transformation. METHOD develops this framework through a series of interconnected research texts.

Explore METHOD →

MEDIA & FORMS

The practice moves across painting, works on paper, sculptural and spatial forms, moving image, digital media, text and publication. These forms are not treated as separate disciplines, but as different modes through which a project may develop. The medium is selected in response to the conceptual, material and spatial logic of the work.

TEXT, RESEARCH & PUBLICATION

Text operates within the practice in two distinct modes. In one, it functions as research, critical reflection, documentation and the development of an evolving theoretical framework around the work. In the other, language becomes an autonomous artistic medium through literary forms, including poetry, dialogue and fiction. Publications may bring these fields together through essays, visual material, archival documentation and independent literary works.

ARTIST-LED CURATORIAL PRACTICE

Within artist-led projects, the artist defines the formation of series and projects, the selection and relationships between works, their textual and archival frameworks, and the conditions of their spatial and public presentation. Curatorial decisions therefore operate not as an external layer added after production, but as part of the development of the work and its transition into exhibition form.

Works are catalogued in the SILA Archive, which serves as the master record of the artist’s oeuvre. Each registered work is assigned a unique identifier in the format SILA-YYYY-XXX-###, where YYYY indicates the year and XXX identifies the work type.

Each record brings together technical information, images, exhibition history, provenance where applicable, and supporting documentation, creating a traceable long-term record of the work.

View archival record → SILA-2025-WOP-011 · Point of Entry

ARCHIVE & DOCUMENTATION

RIGHTS, REPRODUCTION & IMAGE USE

Copyright and intellectual property rights in artworks, images and texts remain with Iryna Sushelnytska unless expressly granted otherwise in writing.

The website supports bona fide editorial, critical, scholarly, curatorial, educational and institutional use of web-resolution images and reasonable quotations with appropriate attribution, under the conditions set out in the Rights & Use Policy.

Unauthorised commercial exploitation, including use in products, merchandise, reproductions for sale, third-party advertising and derivative commercial uses, is not permitted.

INSTITUTIONAL & CURATORIAL COLLABORATION

The practice remains open to curatorial, institutional and interdisciplinary collaboration when a project introduces a distinct research, interpretative, spatial or production context. External collaborators may contribute independent perspectives, expertise and institutional frameworks in relation to a specific exhibition, publication, research programme or other project. Collaboration is understood as a dialogue between autonomous professional positions rather than as the transfer of authorship or direction of the practice.

PROJECT FRAMEWORK

Collaborations are developed on a project-specific basis, with clearly defined scope, duration, responsibilities and rights. Each project is formalised through a separate written agreement covering the relevant conditions of production, presentation, documentation, image use, financial arrangements and other project-specific terms.