All these pictures were painted at my workplace, where I came before everyone else to stay in peace and quiet, collect my thoughts and tune in to the day ahead. From the beginning of the pandemic to the present day, our Center has been working and providing medical and psycho-social assistance to people living with HIV and hepatitis. But at the beginning of the quarantine, all employees over 60 went on paid leave, and the rest began to work in shifts, and I worked 4 times a week as the Head of the department, replacing three employees.

Gradually fatigue, uncertainty began to appear ... The cancellation of a trip to Scotland to the Isle of Islay was a strong blow for me. To get myself together and better understand my feelings, I began to turn to painting with gouache.

The water pulled out of me the unformed corpuscles of feelings, thoughts, and with the help of paints I rendered certain images. On the basis of the created paintings, I then wrote poems that clarified the meanings of the painted. Thus, I was able to understand my feelings and thoughts, stand on the edge of the funnel and contemplate.

We joined forces in 2020, creating a series "The Green Book of Heroes". Alexandra made illustrations by intuitively expressing what is associated with the archetypes; Alexander wrote texts trying to convey the meanings hidden in symbolic images. The process of working on the cycle is associated with the model of the Pythia and the Priest, where there is intuitive symbol formation and rational comprehension; where two are in dialogue with a constant exchange of images and meanings. Our tandem is the co-creation of an artist and a scientist, a woman and a man (anima and animus), youth and maturity, which allows us to expand the scope of individual perceptions and explore reality more widely.

"The Green Book of Heroes" is based on the use of archetypal images and plots. It has something in common with the Major Arcana of the Tarot, I Ching and other universal symbolic systems describing the human life cycle in its relationship to the world around. The is our attempt of "greening" anthropology, to assert the common foundation of human beings and the world of nature. Through pictures and texts, we would like to share the meanings that we have been looking for and found over the past year. We did this in an effort to combine artistic and scientific methods of cognition.

Working on "The Green Book of Heroes,", we proceeded from the ontological perspective of considering nature and the human being, and, at the same time, we recognized the special qualities of homo sapiens, which are not reducible to our natural foundations. This position is characteristic of the concept of ecopoiesis, the co-creation of humans and nature, presented in the web-based journal "Ecopoiesis: Eco-Human Theory and Practice" (www.en.ecopoiesis.ru)

The series conveys the archetypal matrix of reality, in which, according to Maria von Franz, archetypes are organized in a certain way, giving rise to universal prototypical sequences and general patterns of development of all situations. As day follows night, so life events obey certain natural rhythms and always have mythological prototypes.

The cycle also conveys the idea of the Hero's Journey, carried out by a person in one's unity with the living environment, in the general dynamics of development together with it, and, at the same time, sometimes challenging it and confronting with nature, in order to introduce something new and unique into the world, because each Hero is an existence that engenders itself. In this Journey, interacting with nature and culture, the Hero not only reveals the essential characteristics of the living environment, but also transforms it and creates oneself. The actions of the Hero, the human life cycle, are similar to how different living organisms, ecosystem, and the cosmos behave, but, at the same time, the Hero affirms his/her human qualities, and combines the uniqueness of his/her personal trajectory of development with the universality of the forms of natural and cultural life.

Each work of the series has a title that denotes a certain archetypal manifestation in a person and his/her living environment, acting as a generative, synergistic factor, 'a psychoid' (according to Jung) implied both in the mental and physical world, the world of living organisms, in the ecosphere ...

While working on the project, we found that each archetypal situation represented by cards reveals some specific quality. For example, "Death" refers us to completion and rebirth, "Magician" is associated with transformation, healing and service, and all archetypal situations establish certain sequence, or rhizome (according to the philosophy of poststructuralism by J. Deleuze and F. Guattari), the web of life, possessing the Living Heart. However, without the Hero, crowned with a wreath of thorns, his/her choice, free will and deed, its many gifts remain potential. With him/her, they come true.

In this time of digital reliance during the COVID pandemic, I present selected paintings that exist in the virtual realm. Twenty-five years ago, I began to experiment with painting in Adobe Photoshop. The work has influenced my more general painting with physical media, but it has been not printed for exhibition. It has only been viewed on a screen. The recent concept of the NFT (non-fungible token) as a unique digital entity supports new ways of thinking about virtual art. Here I show two types of paintings--- fast and spontaneous creations together with more deliberate pictures, with the latter also made quickly in Photoshop. They are created with a 'mouse' which requires new painting movements and touch. All the images respond to the immediate environment through imagination.

I have written about the many advantages that digital painting offers in saving work and returning to earlier iterations, making multiple versions of the same composition, easy access to vivid and clean color options, bold gestures, and so forth. The media features have many practical possibilities for art therapy --- beyond the scope of this brief statement.

Necessity during the pandemic has driven surprising change within art therapy which had been reluctant to consider digital media. When I introduced video to my professional community in a 1975 article, there was resistance. As I said then, art therapy must open itself to the whole spectrum of current artistic possibilities and media to more completely meet the needs and interests of the people we serve. Digital media have proven to be part of the larger eco-system of artistic expression. Each medium, from the artifacts of the natural world to digital technology, has its place and makes it contributions to the whole.

The coronavirus pandemic and the ensuing isolation, and quarantine have brought about major changes in my life. Everything has changed. There is nothing left from life in a huge city with crowds of people, from daily trips in crowded transport, from daily work with a large number of patients, communication with colleagues and friends, visiting museums, exhibitions, theaters and concerts. We live together with my husband outside the city, in the forest, among old tall firs. For the whole day we meet at best one person and a dog. I quit my job. I only communicate with clients, former colleagues and friends by phone or Skype. I visit exhibitions, museums and performances only virtually. There is only a car from the transport ...

But life in nature made it possible to concentrate more on what there was not enough time and energy for in the hustle and bustle of everyday life. My inner artist, my creative, childishly curious part of me, is helping me a lot now. I manage to notice changes in nature, see the shades of sunrises and sunsets. I am learning to recognize birds and distinguish animal tracks. I rejoice at the vitality of the worm crawling through the snow. I am amazed at the resilience of the newt in the water to drill a well. I watch the flowers bloom, and then wither, as the harvest ripens. I listen to the music of the rain, the drum roll of the hail and greet the first snow. I admire how different snow is, I notice the variety of its shades ...

And I can paint pictures after a long forced break, when there was not enough time and inspiration for them. And I photograph, photograph, photograph ... Creativity helps me to cope with uncertainty, to concentrate on details, and at the same time, to make all-encompassing plans. And then all negative thoughts, fears and uncertainty about tomorrow recede. The creative flow captures me and deepens me in the present, filling this present with great meaning.

"Reflections on Coronavirus"

This series of photographs was born out of my reflections on the nature of the coronavirus. What is the coronavirus like, how can you imagine it? Considering different natural phenomena, I tried to imagine what it might look like ... Like air bubbles on the surface of the water or strange little mushrooms? On icy patterns that covered a puddle, or on dewdrops on the blades of grass? Bright orange mushrooms that look more like flowers? When you compare something unknown, frightening in its globality and unpredictability, with something specific, with what you really see and can touch, it becomes less scary, and sometimes it can even turn into a funny game. Unpredictability recedes, we can continue to live on.

"Instead of travel"

I really love to travel to different countries! New places, new impressions, smells, tastes, sounds of unfamiliar speech, meeting new people ... Such trips fill me with energy, give me new strength, putting aside my daily routine for a while. But the pandemic has closed the borders. I really missed the opportunity to go somewhere. Then I began to revise my photographs and paintings already painted after previous travels, as well as still unfinished paintings and remember the ideas of still non-existent paintings. I was able to complete what I started and create new artworks. As if I went to these places!

Beads

Clay, glazes, textiles; modeling, painting, lowering. 2020-2021.

Making beads and collecting decorations from them have always been important and relevant for me, and manifested itself during the pandemic. A separate story is color in ceramics. I experimented with glazes. I paid a lot of attention to the search for color in small forms, including jewelry of the "health vessel" type (a small container with a hole for containing aromatic oil in it). The presented products are directly related to the online trainings conducted during the pandemic, during which, among other things, these forms were born. Finding a color is a very interesting and intuitive process. For me, the beads were a kind of sampler for new glazes. Many of them have been fired several times and have a very complex color, shades and nuances of amazing beauty.

There is a lot of therapeutic potential in the process of making ceramic beads, from sculpting beads (including the "download-rolling" technology, which was shared in trainings and master classes), decoration (color search) and ending with installation and fitting. Loose beads are a delight to the eyes and a call to tactility. From ready-made beads, it is very therapeutic to "compose beads" according to certain mood. I must also mention about the training of the sense of color, a kind of training of coloristic, compositional thinking. And, of course, a very important stage for me is taking photographs of the products. They live a new life, being captured on camera and presented as an image, where the subject and the background are in dialectical unity.

Traditional forms of pottery

Clay, glaze; pottery molding, modeling, watering. 2020.

In a period of instability, I wanted to turn to established forms. Each of the forms of traditional tableware has a distinct functional identity. The jug has a handle and a spout. Storage vessel (some jugs, egg capsule) is a rounded body with narrow neck. The pot is ideal for heating over an open fire. It is convenient to store food in the makitra. The krynka is a vessel for storing milk, and its shape (rounded body, elongated throat, slightly bent rim) fully meets this function. The milk settles, the cream collects in the neck area. The neck of the jar is so wide that a person's hand can easily penetrate into it (to wash the vessel from the inside), and so narrow that it can be grasped and held with one hand. The censer is a vessel for fire. A bowl contains and displays the contents. All utensils are easy to use and at the same time have a clear silhouette and harmonious proportions. The form is such that it encourages you to pull yourself together and enjoy the harmony of the decorative and the applied. This has always attracted me to traditional art. Even if you do not use this thing, it will stand and "organize space" around itself, setting the tone for the entire interior.

I did these items when I was in the «Eaglet» camp It was important and interesting for me to include the environment as a witness and a kind of facilitator of the process of creation and interaction of me and other people with the products of my creativity.

I cannot say that the pandemic and the period of self-isolation have significantly disrupted my life. I worked a lot, mostly as usual, spent time with my family, was engaged in creativity, and discovered yoga.
At this time, I was next to my loved ones, we went to nature, I allowed myself to walk around the city, read, more often I cooked something delicious for my relatives. I painted pictures, weaved mandalas and dream catchers.

It is the dream catchers that I would like to present at the exhibition.

The "classic" dreamcatcher (shown in the photo self-portrait) with willow-colored feathers symbolizes the middle of summer, feminine strength and the healing supportive power of nature. Trips to nature at this time made my life joyful and fulfilling.
A dreamcatcher in greenish-cold tones (Fig. 2) with natural gems, jasper and agates, with an agate heart hanging in the center and seashells reflects love for St. Petersburg, my hometown, where I was born and raised. This city was so remarkably deserted, clean and beautiful during the period of isolation, when there were no crowds of people, excess of transport and bustle.
Reading pleasant and helpful books such as Clarice Pinkcola Estes' "Runner with the Wolves" is a good quarantine activity. Inspired by the legends of wolves as the totemic inner animal of the primordial woman, she weaved an achromatic dream catcher (Fig. 3), combining shades of white, gray and black.
And finally, cozy tea drinking on cool days with fragrant reddish-golden tea was associated with the warmth of red and ginger carnelian woven into a product of warm colors with wooden beads and cowrie shells (Fig. 4).

Still life with a teapot, apples and a pot holder

During the quarantine, my family, like many others, was locked up within the walls of the apartment. At the same time, adults continued their work, consultations, and children continued to attend school. Everything turned into unfamiliar online activities, while access to the street was limited. There was a lot of tension. And everyone was sorely lacking personal space, personal time.

On a day off, I decided to paint. I remembered that I hadn't drawn for so long, and now was the right time. Many ordinary activities were inaccessible or restricted, guests and walks were prohibited. I put a simple still life in the kitchen of a teapot, apples and pot holders that I could get my hands on.

When I started painting, my wife became interested in it and joined me. She also hasn't drawn for a long time and loves it. Then the younger children joined in. They were attracted by this unusual action that took place in our small kitchen. In the end, even a skeptic, a teenage daughter who does not like to draw, went out to see who was drawing what, who was doing what. As a result, we arranged a mini-exhibition with a viewing.

This was the very time when everyone could be with oneself, drawing a simple still life with a teapot, apples and a pot holder. Everyone was able to slow down, sit, watch. Objects were placed on small cardboard boxes or sheets of paper and found their place. Then they interacted with shapes and colors, played with color reflexes, supported by the background. Something didn't work, something worked.

We drew ordinary sketches, by no means masterpieces, but each had its own view, its own perspective, its own individuality. Younger Marusya, in particular, looking at the still life, painted our yard with grass, playground and sculpture. It seems that after this spontaneous drawing in the kitchen, we more felt each of their places and each other.

Observances

The artwork is called Observances and the two bouquets of dead flowers were found along a roadway as a tribute to health professionals and as a memorial to those who have died as a result of COVID. Floral bouquets preserved as observances in passing. Along my route they were in memoriam, as a display within trees.A message was attached, and although faded it evoked a tribute. A gathering of consolation within flower collections. There was ceremony and intention.The significance of viewing a testimonial and a remembering. A celebration of life and a commemorative offering.Witnessing a sanctum both personal and readily available.

Title: Corresponding with Jeju Scoria, Vessels 1-5 (2020)

Materials: Jeju scoria

Dimensions: c.10 x 10cm

This is an experimental body of research artefacts made as part of my contribution to The Clay Reader – Scoria, Scoria, Jeju Scoria, a modified artist in residence programme focusing on the creative potential of volcanic scoria soil from Jeju Island, South Korea. These vessels were formed and fired in molochite and plaster moulds using a process reminiscent of the pâte de verre technique of kiln forming glass frit. The interiors of the moulds were texturised or incised with simple imagery. The title responds to the project having been modified from a residency on Jeju Island to a postal project due to the coronavirus pandemic. It is also a reference to anthropologist Tim Ingold's (2013) concept of 'correspondence', where the act of making is dependent upon a mutually constructive relationship between the material and the sensory awareness of the maker. My own correspondence with Jeju scoria, involved a series of experiments through which I gradually gained an understanding of how I could work with it. Although this was an almost alchemical process which involved attempting to tame this relatively non-compliant material, it was also essential to embrace the particular material properties of the scoria. The resulting pieces have a primitive, archaeological appearance, where the natural qualities of this volcanic material merge with cultural references.

Ingold, T. 2013. Making: Anthropology, Archaeology, Art and Architecture, London; New York: Routledge.
https://pure.ulster.ac.uk/en/persons/christopher-mc-hugh

Further information

About the project:
https://pure.ulster.ac.uk/en/activities/the-clay-reader-scoria-scoria-jeju-scoria-artist-in-residence

Paper:
https://pure.ulster.ac.uk/ws/portalfiles/portal/89629604/_Christopher_McHugh.pdf

Images of the work:
https://pure.ulster.ac.uk/en/publications/corresponding-with-jeju-scoria-artwork

Film:
https://www.youtube.com/watch?v=lgC9HRoRsis

Images made during first lockdown

I spent a lot of time walking from my new home, observing the local ecology, gathering, sorting and assembling. Birch bark from the local woods was very pleasant to handle and work with and is medically and mythically associated with healing, in Scotland as in Russia, so an ideal medium for themes of health and protection.

Birch Guardian. Mixed media: birch bark, paper, objects.

My personal longing for access to wilderness coincided with collective concerns for the planet. 'Prayer house' is one of a series still in progress, incorporates old computer parts with West Scottish Island corals, in a visual prayer for Nature to prevail over digital technology in our ecology and lives, as 5G infrastructure is installed during pandemic, while the populace is locked indoors & unable to observe or question its health impacts.

Prayer House (for the Dominion of Nature over Digital Technology). Detail.

The Findhorn Community was massively impacted by the closure of all programmes. It will survive but for a while there was a lot of emotion around in the local area about redundancies etc in this rural location.

The COVID-19 pandemic took me by surprise, like most of us. My exhibition was canceled, but I realized that it was a sign for me to search for new horizons. I remember how, riding my bike, day after day I enjoyed cycling to my studio in Shuvalov Park. The door of my studio met me with its creak every morning and saw me off in the deep evenings, slamming shut in the dusty haze of the carpentry workshop.

At first, I thought that I needed to do something related to the coronavirus or feelings that should be born in the public consciousness, and I focused on the thought: "What if I die soon?"

What can I leave behind? How will they children and grandchildren know me? And then I realized that it's time to start doing something beautiful, to look for an expressive form and bring it to tangible harmony for hours and days. I mostly work with a fairly hard material like wood.

I remember that I was focused on the basic forms of sculpture, going after the material. I did not know until the end what would come out in the end, getting down to work. Indeed, as if the tree itself was whispering to me where to make a cut and how best to set the shape.

Towards the end of the last year, having created most of the finished works and having recovered from the coronavirus, I realized that I had survived and began to think about how to present my works to the world. I began to look for the correct proportions of the pedestals for displaying sculptures, the opportunity to present the works to the audience. And I must say, I did it. I was satisfied and now I am entering a new round of wood turning, but this is another story, which I hope to reflect during the next year.

The series "Light in the Fog." was born in the process of my personal crisis, during a pandemic. The state of "fog", when what is ahead is not manifested, is familiar to each of us. Uncertainty is brought to life to which you have to adapt. And I, drawing a series of works with lights shining in the fog, felt hope for the best ahead, looked for pivot points, and, ultimately, got into a state of "here and now". Working on a series of 9 watercolors, which I painted daily, helped me move from a feeling of a "crumbling world" to a feeling of "universal unity", where the lights on the track from objects of the real world gradually acquired the semantic sound of celestial bodies.