The Ukrainian artistic fabric of the times of independence is often realized in the form of a unique handmade panel. The article aims to clarify the figurative, thematic, stylistic, and technological dynamics of Ukrainian panel art in surface decoration techniques from the early 2000s to the present, the correlation of the mentioned components, to characterize the peculiarities of the work of the most productive artists, and to clarify the issue of terminology.
The article examines the terminology used in domestic practice, analyzes it and compares it with the international terminology. It has been found that the most common terms are closely related to the history of their origin, reflect the peculiarities of technology and are often synonymous in their basis. The work of Ukrainian artists working in the field of textile panels is analyzed in terms of technology, themes, issues, and figurative embodiment. It was found that the most common technique is hot batik. In combination with linen fabric, the printing technique is often used to reflect themes of ethnic color, to strengthen the idea of national identity. The format of a textile panel embodies religious and philosophical issues. After the full-scale invasion of Ukraine by Russian troops, expressive embodiments of the war theme appeared. There is a large group of works dedicated to the beauty of nature and the environment. The images of a number of works are formed by textile means, mostly figurative and associative works in the techniques of free painting, tai dai, sieve printing, and eco-printing.
The emergence of digital printing on fabric has been a distinctive feature of recent decades. One of the incentives for the process is the introduction of the discipline of computer-aided design into the curriculum of the Department of Art Textiles at LNAA. Ukrainian textile panels in surface decoration techniques are characterized by a wide range of images and themes and an extensive technical arsenal.
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