Raisa Korzh, 65 years old. Polisky district, Lisove village.
At the end of March, three armored personnel carriers with three dozen Buryats drove into Raisa's yard. They wanted to drag Raisa into an armored personnel carrier. She was on her knees begging to save her house. Before that, they robbed and burned many houses in the village. Three Buryats entered her house, one of them ate the cheesecakes she had just cooked, overturned and destroyed the furniture, and shot the TV with a machine gun. Raisa was standing in the corner of the kitchen and praying that she would not be killed, when suddenly she was hit from behind with something painful in the arm, it was a Buryat who pierced her through with a bayonet knife, and then methodically began to beat her on the head with a hammer until she began to lose consciousness. They beat her to give the keys to the ATV, which Raisa did not have.

Petrovych, aka Oleg Valovy. A resident of the village of Gorenky near Kyiv.
His weapon is a hunting rifle. His Teroborona at the beginning of the war consisted of 12 people, later - 24 thanks to men who evacuated their families and returned. There were days when Teroboronov fighters extinguished fires in five to seven houses, their tools were buckets and shovels. The Russians destroyed the local fire station in early March. Over time, the Teroboronov team of Gorenka converted the sanitation truck into a fire truck. Thanks to this, it was possible to save dozens of houses from fire.

Halyna Kovalska, born in 1955, city of Irpin.
Halyna refused to evacuate because of homeless animals. I was in Irpen all the time. There was a moment when there were seven people left in the high-rise building where she lives. They hid on the first floor between two load-bearing walls. A 37-year-old woman was killed while preparing food for her child at the entrance. Galina presses the pea coat left to her by a Ukrainian soldier to her body and tells that one day Russians came to her apartment, there were six of them, young people, 18 years old each. "They pointed machine guns at me. I told them: "Go to your mother and father," Halyna recalls. She says that she stuttered for two weeks after that.

Serhiy Grenyuk, born in 1982, a taxi driver, a resident of the village of Moschun, Kyiv region.
On March 16, three Russian soldiers entered his yard, one of them killed his friend Serhii with two shots from a machine gun at close range. Serhii himself was wounded three times - in the shoulder blade, in the arm and in the leg, after which he collapsed on the threshold of his house. He lay on the floor for six days until he was picked up by the Ukrainian military. On the way, they accepted the battle, but were able to fight back. The military was told: "You have nine lives, like a cat."There is a freshly dug shallow pit five meters from the door of Serhiy's house. Here was the body of his friend, who had been reburied a few days ago at the local cemetery.

Immediately after the de-occupation, our entire land was littered with battered military equipment, it stood in columns on the roadsides, in fields, forests and forest strips.
Over time, the relative integrity of the equipment was even more violated: wheels, tracks, machine guns were removed - everything that had any value. The remains of the armor grew into the ground, and the autumn rains washed away both the Latin letters and the white crosses.
Now only large grease stains and isolated towers in the abandoned fields testify to the fury that will be faced by anyone who comes here with a weapon. And the mutilated trees and deep holes in the fertile black soil will remind you of the price of freedom.

In the installation series of seven works "Eclipse" from 1999, the appeal to history and to Malevich's "Black Square" is obvious. It has a symmetrical composition that can be read from left to right and right to left. The manifestation of extreme points of natural and historical processes, an attempt to connect them into one whole (from the darkest to the lightest) is designed on the theme of the solar eclipse of 1999, which was a kind of final point at the end of the millennium. 
Plastic variations of the everyday picture of the labor team appear in the struggle of white and black squares, in which people appear and disappear, falling into the field of historical eclipses. A man standing in a mansion is especially suggestive, he was a decisive moment in the choice of frame to realize the concept of "Eclipse", personalizing the arrogance of the caretaker - a typical figure from the life of those years. He has a sense of his own arrogant power and undisguised power over others.

"Hunters" is one of the most spectacular and largest works in the "Common Field" project. The work was exhibited in Paris in 1999 at the exhibition "Boris Mikhailov and his friends" (Cite Internationale des Arts), at the exhibition of the "Common Field" project (approx. 100 works) at the House of Artists in Kharkiv (1996), at the exhibition "Evgeny Pavlov, Tetiana Pavlova. Chronicles of Total Photography", in the Dovzhenko Center (2017) at Ye. Pavlov's personal exhibition in "Set", (2019, Kyiv).
The work does not contain any references to specific characters. Hunters are inseparable from the metaphor of the spectral circle (from the mnemonic poem: "every hunter wants to know where the pheasants sit"). The colored cartridge case and the smoke of the shots behind them indicates that hunting is treated as a game - a game with death. Cartridges-tubes with paint and iridescent fire-birds were conceived and painted with markers (felt-tip pen) by Yevhen Pavlov.

"In the photographic series that I propose, an intimate epic unfolds of a simple man returning to his home, irrevocably disfigured by the terrible consequences of war. Having lived outside its borders for six months, I found myself in front of a landscape that was formed in the conditions of resistance to Russian aggression. It prompted me to record the new symbols, changed circumstances, and painful images carved into this new reality.
We humans struggle with collective and individual tragedies. While we can overcome shared grief together, individual suffering requires personal coping. This series reflects my experiences when I saw my home lose its calm and peaceful essence. The images in it serve as a powerful testimony to the horrors of war and the destruction it inevitably brings. As an artist, my goal is to make sense of this chaos by giving voice to the emotions and experiences of those whose lives have been irreparably changed by the ravages of war." - Mariia Shevchenko