The Power of Traditions in the Digital World: An Interview with Designer Maryna Butko on Petrikovka, Cambridge, and Art Therapy

Moving to another country, changing one's familiar environment, and adapting professionally is a difficult challenge for any creator. However, for Ukrainian artist and graphic designer Maryna Butko, this path became a continuation of her main mission: to preserve the cultural code of her native land and open it to the world. Having journeyed from academic monumental painting in Dnipro to working in Cambridge, Maryna successfully combines the centuries-old traditions of Petrykivka painting with modern digital design and explores the healing power of art. In this interview, Maryna talked about her creative philosophy, life in England, and how folk art helps people cope with the psychological traumas of war.

Maryna, please tell us about your journey from being a graduate of the Art College in Dnipro to a professional graphic designer in Cambridge.

My path began with a foundational education at the Dnipropetrovsk Art College and the National University, majoring in “monumental painting.” Then, I went through various fields: I managed an art studio, created sketches for stained glass windows, and developed collections of wallpaper and ceramic tiles. This long-term practical experience of working with materials, combined with mastering digital tools (Photoshop, Illustrator, Corel Draw), shaped me as a specialist. I had a truly beloved job in Ukraine.

What experience working as a wallpaper and tile designer influenced your current artistic style or approach to design the most?

Working with wallpaper and tiles taught me to think in patterns, feel the rhythm of an ornament, and understand how color and form work in a large space. This developed a strict technical precision in me and the ability to harmoniously adapt traditional or complex artistic motifs to the requirements of modern interior design and mass production.

How would you describe your creative philosophy, or what is most important to you in art?

For me, the most important thing is the continuous connection of generations and the healing, creative power of art. My philosophy is to draw inspiration from the depths of art history and natural harmony, combining them in a design that brings aesthetic and emotional balance to people.

Why is Ukrainian folk painting, specifically Petrykivka painting, your special passion? What attracts you to it the most?

Petrykivka painting is a part of my identity and my academic background as a master of artistic wall painting. After all, it originated as a decoration for Ukrainian homes. I am endlessly attracted by its life-affirming energy, deep symbolism, and inseparable connection with nature, which I value so much. It contains an incredible optimism that is especially necessary right now.

Tell us more about your research project "The Use of Petrykivka Painting in Psychological Assistance and Rehabilitation During and After the War." What inspired you to choose this topic, and what are your expectations for this work?

The war became a severe trial, and I was looking for a way to apply my skills to help my compatriots. Petrikovka, with its bright, pure colors and the meditative process of creating brushstrokes, possesses enormous art-therapeutic potential. I expect this project to prove in practice how traditional art helps people find inner support, reduce anxiety, and cope with traumatic experiences.

How do you see the future of Petrykivka painting, considering its UNESCO protection and your work on its application?

The UNESCO status protects its heritage, but the real future of Petrikovka lies in its active integration into the modern world. I see it not only as a museum artifact but also as a living, evolving element of graphic design, art therapy, and global visual culture that is understandable to people in any country.

Watercolor was your first technique since childhood. How do your past watercolor skills intersect with your current practice, perhaps even in graphic design?

Watercolor teaches lightness, transparency, and the ability to work with color “cleanly,” without the right to make a mistake. I transfer these skills of coloristics and composition directly into the digital environment. Working in Adobe Illustrator or Photoshop, I try to preserve the picturesque warmth and “handmade” character of the lines, avoiding the excessive dryness inherent in computer graphics.

Moving to England after the start of the war was probably a difficult experience. How did art help you adapt to a new country and tell the story of your homeland?

The move demanded all of my vital resilience. Art became a universal language of communication for me in the new country. The creative process gave me psychological stability and a sense of “home,” and through my work, I received the opportunity to tell the British people about the beauty, culture, and inner strength of Ukraine without words.

In what way does participating in international exhibitions, fairs, and conducting masterclasses on Ukrainian folk art help you in this mission?

My six years of experience managing an art studio turned out to be invaluable here. Masterclasses and exhibitions are a direct, live dialogue with an international audience. They allow me not just to show the final result, but also to involve people in the process, giving them the opportunity to touch Ukrainian culture with their own hands.

What are the most interesting reactions or feedback you have received from an international audience regarding your Ukrainian folk works?

The most amazing thing is seeing how people from completely different cultures emotionally respond to our ornaments. The British often note the incredible optimism and light in Petrykivka painting, sincerely wondering how a nation going through such destructive trials continues to create such life-affirming and bright art.

Where do you find inspiration for your work, given your diverse experience and techniques?

I draw ideas from two main sources: art history and nature. Traveling also gives fresh ideas for patterns, color combinations, and textures. Inspiration always comes during work. Therefore, one must not forget about plein air painting; it is necessary to paint every day. After all, just like a musician, an artist cannot lose form and make big breaks in practice.

Do you have dreams or plans regarding future projects that combine your experience in graphic design, traditional art, and the social sphere?

To paint as much as possible, to develop a collection of patterns based on Petrykivka painting. To develop my brand. I strive to combine my experience. My dream is to develop comprehensive programs or products for art rehabilitation that will find practical application in the social sphere.

What is most important for a modern artist today? Are there any tips for those just starting their journey?

The main thing today is to be flexible, resilient, and not afraid of synthesizing different media: from classical oil to digital vectors.

Advice for beginners: study art history deeply—it is your inexhaustible foundation. Maintain your uniqueness, but be open to new technologies and always look for a practical, creative application for your art.

The story of Maryna Butko is an inspiring example of how deep national roots and an academic base can become a powerful foundation for an international career. In the era of digitalization and global challenges, her approach proves that true art knows no borders. It is capable of not only decorating interiors and monitor screens but also healing souls, bringing nations closer together, and preserving light even in the darkest of times. And Petrykivka painting, thanks to such masters, continues to live, develop, and warm the world with its unique, life-affirming power.