Dovgan-Art: The power of creation in times of war

In the village of Khotiv near Kyiv, ceramic artist and ATO veteran Volodymyr Olegovych Dovhan runs the DOVGAN-ART studio (ATO — the Anti-Terrorist Operation in eastern Ukraine since 2014). One of the first artisans to revive Sokal ceramics, he also works to restore traditional pottery of the Kyiv region from the 15th–18th centuries.

After returning from military service, Volodymyr Dovhan began developing ceramic workshops for veterans and their families, using clay as a creative and therapeutic practice during rehabilitation.

We spoke with Volodymyr about his path in ceramics, his studio, and the role art can play in times of war.

1. Please tell us a bit about yourself and your path: how did ceramics appear in your life?

By education, I am an artist-decorator. I worked in my field for some time until one day a friend suggested I try ceramics, specifically the revival of Havarets ceramics (black-polished pottery and lemon-yellow pottery). At that time, only one master was working in this area.

That’s how I got to know clay more closely, if we don’t count working with it in art school. It was the ’90s — to be exact, 1992. That’s how my path in ceramics began. There were attempts, mistakes… and some results. Clay filled my heart and soul. I can’t even imagine how I would live without it.

Over all these years, there were only two breaks without clay: a few months when I couldn’t organize a workshop for myself, and the period of my service in the ATO.

Today, this entire path has grown into the Dovgan-Art workshop. The main directions of the workshop are the revival of Sokal ceramics, the “Kyiv Bowl” direction, and creative projects. Recently, I have also become interested in Eastern ceramics, particularly from Japan and China.

2. How did the idea to create Dovgan-Art Ceramic and develop this project arise?

The idea of creating the Dovgan-Art workshop appeared in 2016 after I returned from the ATO (the Anti-Terrorist Operation in eastern Ukraine).

Several factors played an important role in shaping the workshop into a full-fledged project:

1. Ceramics became my main professional activity.
2. I formalized my financial and legal relations with the state, since previously ceramics had been more of a side project.

3. You work with veterans and their families. How does this work take place, and what is most important for you in this process?

The social component of the workshop includes master classes with military personnel who are undergoing treatment and rehabilitation.

I work closely with psychologists from the Feofaniya hospital — they bring participants to the workshop. This is a joint initiative between the doctors and our studio.

The classes take place as introductory master classes. First of all, it is about introducing participants to clay as a wonderful material — very plastic and obedient, if you can “negotiate” with it.

4. When did you first feel that ceramics could work as a form of recovery and rehabilitation?

For most participants, 99.9%, it is their first time encountering clay. My task is to open the deep world of creativity for them — a world that can be created with their own hands.

The main goal is to involve them in the process of creation so that, even for a short time, they can feel like creators and forget about their injuries or amputations.

For example, a few years ago there was a group of veterans, including a man who had been released from captivity. He refused to sit at the potter’s wheel. Psychologists eventually convinced him to try.

It turned out that before the full-scale war he had worked as a blacksmith and wanted to make a rose. We sat together and made it. The change in him was immediate — his eyes lit up. Then he continued working on the rose by himself, and it brought him joy.

During captivity he had been moved through nine colonies. It’s hard to imagine what he went through.

In summary, my task is to help them feel — even briefly — that nothing has ended, that they can still create and work with clay, and that things are still in their hands. Although this expression is difficult to use, because many of the boys have amputations.

There are many examples: participants with vision loss, with only one working hand, or with amputations of both palms.

I first understood that ceramics could serve as rehabilitation after visiting a psychiatric hospital, where I brought a potter’s wheel at the request of an acquaintance. At first it was psychologically very difficult. Later I was invited to Feofaniya hospital to conduct master classes.

Eventually I realized that participants should be brought out of the hospital environment — a change of surroundings has a very positive effect on socialization.

5. Do you notice changes in participants during or after classes? What stands out to you?

As I mentioned, changes happen during the sessions themselves. These are positive changes.

I enjoy seeing the veterans’ eyes light up. People open up and reveal their best side. Every person is a creator, and this becomes visible in them.

Even if only for a moment, they immerse themselves in the creative process. I usually propose several ideas for their work and always help them realize these ideas.

6. On your website and Instagram, we can see that you also organize collections for the needs of the Ukrainian army. How does this work, and whom do you support?

Regarding support for the military, we closely cooperate with the diaspora group in Istanbul, hurrem_sultan_grup, almost from the first days of the full-scale war.

Fundraising actually began back in 2014 and has continued ever since.

There are many different units involved — many acquaintances, friends, and family members serve. Our son serves, our godfather serves, our nephew serves.

The needs are always different but always urgent. Unfortunately, many of my comrades from the ATO have already died.

7. How does your creative work affect you personally?

Creative work allows me to dive into myself, realize my ideas, and create objects that inspire me and that I can share with others.

For a while, it allows me to feel like a creator. I believe every person has the right to creativity and the right to share it.

As for artistic value, let critics and art historians judge. My task is simply to share my vision, my experiences, and my love.

Life is beautiful. The ability to create is a gift given to everyone. So we must create, make, love, and fill the world with beauty, light, and goodness.

8. How would you describe your workshop today — what kind of space is it, and for whom does it exist?

The workshop is a space for creativity, and we are open to everyone.

Of course, there is also a commercial component, since bills must be paid, but the space remains open to all.

We even announced a free training program — a student came from Ternopil, and after the third session she was already working independently with clay.

The workshop is a place where people can try ceramics and discover their creative abilities.

In the future we plan to organize thematic symposiums for ceramists. On our Facebook page there are several lectures on Sokal ceramics by art historian Halyna Ivashkiv, a researcher of Sokal ceramics and author of an album on the subject.

We also plan a lecture series about ceramics of the Kyiv region with archaeologist L.V. Chmil, a member of the Academy of Sciences, although currently this is not the right time for it.

9. What role, in your opinion, can art play for people and communities during war?

The main goal of art is to reveal the best qualities in a person, provide aesthetic education, and fill life with beauty and a sense of eternity — especially in times like these, in times of destruction, instability, and war.

Art is the counterbalance to war. They are two opposite poles: war destroys, while art creates, gives life, and fills existence with meaning.

Art is love. That is why we must create, immerse ourselves in beauty, and fill life and space with love.

Today, DOVGAN-ART combines craft, cultural preservation, and support for veterans. Initiatives like this show how creativity can help people reconnect with themselves and their communities.

Supporting small Ukrainian workshops today also means supporting the people who continue to create and sustain culture despite the realities of war.

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Social media to follow:

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Facebook
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Website

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All photo credits: Dovgan Art / Facebook

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