Soil as Text - interview with artist in residency.

From June 1 to July 31 2025, Apl315, an artist originally from Ukraine, stayed at the EKL Muhu Art Farm as a guest artist. Selected from approximately 80 candidates, the author endured the residency’s ascetic living conditions and this year’s exceptionally late-arriving summer weather.

The application process, whose aim was to select one guest artist for the summer of 2025, offered a painfully immediate picture of present-day Ukraine and reminded us of the often existential necessity of cultural cooperation projects.

Apl315 is an artist who has renounced their real name and public face, living and working in exile after leaving Odesa with their family. Under the conditions of the ongoing war, the question “why?” becomes either too self-evident to ask—or too complex to answer. The interviewer imaginatively places themself in the position of a male artist from Ukraine. Yet perhaps the act of asking questions and engaging in dialogue could itself become a necessary starting point for the regeneration of freedom and culture.

Soil as Text

by Tiiu Rebane

As an author with a scientific background, Apl315’s arrival in Muhu was a conscious choice: a desire to enter an environment rich in historical layers, and at the same time a rural one—far from crowds and over-cultivated environments. The aim was to pursue creative work grounded in scientific methodology and to investigate the genotext that constructs the local present.

In the Estonian cultural space, the greatest protection is found in soil—often mud: the ground where, over time, everything becomes buried—work, objects, creations, people. Julia Kristeva describes abjection as that which is rejected yet whose existence is essential for identity. Everything that has been placed in the ground, fallen into it, or hidden within it becomes part of a sacralized layer—one that is treated with reverence and whose excavation becomes a symbolic act.

Through accidental excavations, the researcher gradually encounters all that is valuable or terrifying—things endowed with heightened pre-meaning. Once uncovered and cleaned, these elements form a kind of genotext of ourselves: of how we may one day be seen in the future. They create the background with which we are associated today.

The artist brings out of darkness and soil a fact-based reality—original texts which, when presented poetically as isolated, fragmentary utterances, begin to generate a symbolic order.

In the following interview, the author gives a brief overview of their work, methods, and underlying conceptual system:

1. Could you briefly introduce yourself to an Estonian audience?

My name is Apl315, and I am a Ukrainian artist from Odesa. I trained as an entomologist at Odesa

State University, and my scientific background informs my approach to observation, materials, and

detail in art. I began my journey in the international graffiti scene, which naturally evolved into

post-graffiti and interdisciplinary art. Today, my work combines artistic research with historical

artifacts, media installations, and objects, exploring themes of memory, loss, and historical parallels,

particularly in the context of Ukraine and the Balkans. Through my work, I aim to reflect on the

intersections of past and present and create dialogues that connect history with contemporary life.

2. How did you discover the Muhu Art Residency, and why did you choose this place for your

creative process?

I came across this open call on social media pages that share opportunities for artists. Recently, open

calls specifically for Ukrainian artists have become quite rare, so I decided to apply.

My research has long focused on Eastern Europe and the Balkans, studying ancient and

post-ancient cultures such as Rome, Greece, Illyria, and the Celts, and their interactions up to the

Middle Ages. Exploring northern cultural layers is a completely new experience for me. I had never

worked with the Baltic region or its artifacts before, which made the prospect of investigating Muhu

extremely exciting.

Estonia, and Muhu Island in particular, was not chosen by chance. The island has a unique history

connected to ancient tribes like the Osilians, known as fierce defenders during the Viking era, as well

as the heritage of Finno-Ugric peoples and the Couronians. Its isolated environment, rich in historical

traces, allows me to deeply explore how these layers of the past resonate with the present and

integrate this understanding into my work.

3. You come from a scientific background. How did your interest in making art begin, and

what inspired you to dedicate yourself fully to artistic practice?

My artistic methods are largely shaped by my scientific education. Studying entomology taught me to

observe systematically, collect and analyze materials — skills that I apply in working with artifacts,

inscriptions, and historical layers in landscapes. I carefully study objects and sites, record details, and

document findings to fully understand their context.

Since the early 2000s, alongside my interest in collecting insects, I have been involved in graffiti.

These two interests developed simultaneously, shaping my understanding of visual language andpublic space. Later, after finishing university, at one of the graffiti festivals I met a “person from the

contemporary art world”. They suggested I try new ways of working in art — using different materials,

media, and forms of expression. This became the starting point for my transition toward broader and

more experimental artistic exploration.

Art allows me to go beyond strict scientific procedures and experiment with form, visual interpretation,

and storytelling. My work balances research, documentation, and artistic expression: the scientific

approach ensures precision and contextual depth, while creativity allows me to convey emotions,

history, and the cultural significance of the objects I work with.

4. How would you describe your working methods as an artist—do they reflect or diverge from

your scientific training in any way?

My work is largely based on direct interaction with space and historical context. I choose places

where the past can be felt, explore landscapes, collect visual and material evidence, and analyze

them on site. You never know in advance what you might discover — this element of surprise keeps

me alert and motivates me to continue exploring new territories and cultural layers.

This process is more of an intuitive investigation than strict adherence to scientific methodology. I

look for history in details, layers, and objects that tell stories of the past. In this way, my artistic

practice reflects scientific curiosity and attention to facts, while allowing me the freedom to create

visual and conceptual interpretations that combine research and art.

5. How do you relate to the contemporary art field? Are you working with gallerists, Ukrainian

professional unions, or international art institutions? What kind of professional

networks—formal or informal—do you prioritize, value and seek to build?

Since 2006, I have been working in the contemporary art field, collaborating with galleries, museums,

and cultural institutions, while continuing my street interventions, which I still practice today. I have

never joined formal unions and prefer to work independently, collaborating directly with curators and

gallerists.

Over time, I have developed a professional network of Ukrainian and international colleagues with

whom I regularly interact. However, the main focus of my work remains on my own projects and

research. This independence allows me to maintain a unique approach and flexibility, combining

investigative methods with artistic interpretation. At the same time, I value and nurture informal

professional connections within the international art community.

6. How would you describe your own position today—or more specifically, your existential

relationship with the contemporary moment? More broadly, what is the situation for Ukrainian

contemporary artists right now? Does Ukraine need its artists?

Today, my position as an artist is closely connected to current historical and social processes. My

work explores memory, loss, and historical parallels, allowing me to reflect on the present, its

challenges, and crises. From an existential perspective, it is important for me to document, preserve,

and interpret history — especially in times of war, when cultural and historical objects, as well as

collective memory, are under threat.

Ukrainian artists play an important role as cultural ambassadors. We share our country, its history,

and its culture with a broad international audience, fostering dialogue and countering disinformation.

This role is especially urgent given that Russian occupiers wage war not only against the citizens of

Ukraine but also against its culture: destroying cultural heritage, erasing national identities, killing

tradition-bearers, and imposing the so-called “Russian culture” through aggression and repression.

This imposed “culture” brings death, destruction, and suffering, and it is precisely against this

historical violence that we must preserve and defend our cultural identity.

My practice combines personal experience and collective memory, demonstrating that art can be not

only a visual form of expression but also a tool for preserving history and culture, as well as a means

for international dialogue and resistance in the information war.

7. Ukrainian culture and war—could you share your perspective on the current condition of

cultural life in Ukraine? What kind of future do you see for Ukrainian contemporary art and for

artists working under these conditions?

Since ancient times, russia, beginning with the muscovite state and the russian empire, has pursued

an aggressive policy against Ukrainian lands and people. Conflicts with the Cossacks and forced

resettlements occurred as early as the 17th–18th centuries. In the 19th–20th centuries, including the

soviet era, there were widespread repressions, systematic suppression of culture and language, and

the Holodomors of 1932–1933 claimed millions of lives.

Times of crisis often give rise to significant achievements driven by the need for survival and

adaptation. Since the beginning of the russo-Ukrainian war in 2014, numerous successful initiatives

have emerged in small and medium-sized businesses in Ukraine. Since 2022, alongside the classical

figures of Ukrainian culture, a new generation of artists and cultural practitioners has emerged,

creating works of global significance and representing Ukraine on the international stage.

Like previous wars with russia, this war has a genocidal character. russian aggression claims the

lives of our best people — those who could have contributed to building a modern, independent, andculturally mature Ukraine. The losses are immense. That is why we must preserve and develop our

cultural heritage, support contemporary art, and actively participate in international processes. Only

through collective efforts with the international community can we resist aggression and reduce the

risk of such tragedies repeating.

Today, Ukrainian cultural figures play a key role as cultural ambassadors both within the country and

abroad. We share the story of our country, its culture, and contemporary society, foster international

dialogue, and counter disinformation. Art records real events and preserves memory, in contrast to

the falsified history of russian imperialists. Through the language of art, Ukraine strengthens

international understanding that the myth of “brotherly nations” — imposed by russian occupiers —

has led to tragedies passed down from generation to generation.

I believe that contemporary Ukrainian art not only reflects the challenges and tragedies faced by the

country but also produces competitive works of global significance, strengthening Ukraine’s presence

on the international cultural scene. Despite enormous difficulties, artists continue to develop, explore

new forms, and preserve identity and cultural heritage. Their work, together with international

support, will be a key element in resisting aggression and rebuilding the country.

8. Together with a few like-minded colleagues, you’ve founded an artist residency in Italy.

Could you tell us more—how did the idea emerge, who are the people behind it, and what are

your shared intentions or goals for this space?

The idea to establish a residency in Italy emerged naturally from our long-term involvement with

BIRUCHIY, Ukraine’s oldest contemporary art residency. Founded in 2006 on Byriuchyi Island, it

served as a platform for experimentation, collective creation, and international exchange. Following

the displacement caused by the russian invasion in 2022, BIRUCHIY transformed into a nomadic

project, traveling across Europe and North America, collaborating with artists and institutions

worldwide.

In 2025, we opened a new chapter in Cortemilia, northern Italy, establishing a permanent base that

allows us to continue BIRUCHIY’s ethos of experimentation and collaboration. Together with my

colleagues, our goal is to provide artists with studios and exhibition spaces to develop and present

projects, foster international partnerships, and engage audiences through collective artistic

interventions that respond to urgent social and political issues.

9. In your view, what is the function of artist residencies today? Why is your founded

residency important to you and your collaborators specifically?

Today, artist residencies function as dynamic platforms for experimentation, exchange, and

collaboration, providing artists with time, space, and resources to develop their practice. They also

foster dialogue, networking, and engagement with diverse audiences, while supporting the mobility

and resilience of creative communities, particularly in times of social and political crisis.

For us, the Italian BIRUCHIY residency is especially important because it transforms the experiences

and challenges of the nomadic project into a stable platform. It enables our team and collaborators to

continue nurturing international artistic connections, supporting both Ukrainian and global

contemporary art, and producing projects that respond to urgent issues such as forced migration,

military violence, and cultural solidarity. The residency embodies our commitment to collective

creativity and underscores the transformative potential of collaborative action.

10. Finally, do you have any questions for us—for the residency, for Estonian artists, culture

in general, locals, politicians, functioners, animals etc (These can be on any topic you find

relevant.)

The only thing I would like to add is my sincere gratitude to the people of Estonia, its institutions, and

the cultural community for their support of Ukraine during these challenging times. Your solidarity and

encouragement are extremely important for Ukrainian artists and greatly strengthen the cultural

dialogue between our countries.

A special thanks goes to the team of the Muhu Residency and, of course, Lyumi the Samoyed, who

creates the unique atmosphere of the residency.

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Apl315. Cortemilia 8/25/2025