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Work Samples

Post-performance Display of Ukraine

"separation anxiety" (2019) is an exploration of cultural identity in foreign lands, as well as an address of the trauma of separation, both abstract, and literal, with Russia's annexation of Crimea in 2014. The artist attempts to heal both the self and his original country of origin through sour cream.

Audience Participation

"shout" (2017) explores the relationship between audience vulnerability, and stochastic electronic play. By offering their voice to the microphone, the participants are rewarded through a dazzling spectacle. One directly informs the other and encourages open experimentation and play.

Noisemaker 3

"three noisemakers" (2018) induces interaction between participant and machine through sonic phenomena. Through abstruse function, play is encouraged in order to discover exactly what lies within these strange toys.

Digital December

"Digital December" (2017-2018) is a creative coding project attempting to explore the boundaries of digital art and the ephemerality of daily creation.


About Maksym

Baltimore County

Maksym Prykhodko's picture
Maksym Prykhodko is a Ukrainian-born interdisciplinary artist. In 2016, he earned his BFA in Music Composition and Technology from the University of Wisconsin-Milwaukee, and since has been expanding his practice into interactive art, electronics and emerging rapid-prototyping technologies. Prykhodko’s best known work shout features 15 sound-responsive lightbulbs that are triggered by a participant's voice. The installation premiered in Milwaukee’s Var Gallery as part of the Art+Tech... more

separation anxiety

The work “separation anxiety” consists of a Ukrainian plate with warm pierogies (popular food in my country of birth) placed upon a traditional rushnyk (ritual cloth), a large glass jar of sour cream, a wooden fragmented map of Ukraine, completed by video documentation that captured my creation of the pierogies and map. Both the rushnyk and the plate are ornamented with complex geometry and nature-inspired iconography that implies Ukrainian domesticity and the hearth of the home. The golden colors and aroma of the pierogies may incite the participant to reach out and try one, while the white sour cream stands idle, waiting to be scooped as an additive to the prepared meal. The map and projections loom over the presentation, highlighting the juxtaposition of information. The setup may reference a cultural event, or an altar, offering deeper insights.

The piece emerges from my shape-shifting Ukrainian identity, and is my attempt to identify and communicate key traumas and experiences which I have muffled for many years. As an immigrant, my original identity has been lost or transmuted through time, either through cultural rejection, or voluntary dissolution to satisfy conformity. By creating symbolic connections to my experienced pain, I hope to share my adversities, in a way that induces a sense of empathy in the participant. My goal is for the work to create mutual bonds between humans through the topic of trauma, cultural dissonance, and identity limbo.

I look to Kiki Smith's work concerning the body, trauma, and boundaries as a way to recontextualize my pierogies. I similarly think of them as containers of personal hurt, guilt, and injury. The dough forms a literal barrier between the external and the internal, imitating international and cultural borders. The sour cream may be suggestive of healing salve, something that may be applied to injuries in an attempt to heal them. Its accompaniment to the pierogies perhaps soothes the trauma and aids in the process of healing.

I connect the Eastern Ukrainian-Russian conflict symbolic in the fragmented map to the work of Jordan Nassar, and his imagined embroidered Palestinian landscapes: free of conflict, pristine, idealistic. In contrast to Nassar, my landscapes present an ominous imagined future: one full of annexation, separation, and war. My map displays a malformed view of my home country – in desperate need of healing and mending.

This work is emblematic of my transformed identity, and me coming to terms with my perception of my old and new selves. I hope to act as a bonding agent for other immigrants between the past and the present, address the presence of pain and cultural limbo which is burrowed within many migrants, and engage in the process of healing. These experiences can also be used as talking points to unapologetically address personal anxieties, traumas, pain, and to foster understanding and empathy between humans generally.


"shout” is an interactive installation which explores the connection between sound and light. 15 lightbulbs hang 20 feet up in the air, and participants are able to turn them on and off in succession solely through their interactions with a microphone. The audience is encouraged to sing, create noises, and shout to create a visual response.

The installation explores the idea of human curiosity through experimentation and play. There is no “correct” method of interaction, but only one that is human and based on what comes naturally. By utilizing electronics to physically connect two distinct senses, “shout” encourages personal vulnerability. Instinctively, many shy away from the amplification of a microphone, but by utilizing it as the main interactive point, individuals must overcome personal insecurities in order to make the installation function. Each participant is indeed the missing piece to completing the picture. Without them, there is no play, and there is no light.

three noisemakers

"three noisemakers" conducts an investigation into the relationship between play and sound. Three nonsensical and odd constructivist-like devices are presented, with a function unclear, one which can only be understood through experimentation. Through tacticle means, participants push buttons, incorporate common objects, and respond in real-time to the acoustic phenomena before them. These devices scream, burst, and behave in unpredictable ways, creating an endless loop of play between humans and machines. Both complete the circuit of interaction.

  • Noisemaker 3

    "three noisemakers" (2018) induces interaction between participant and machine through sonic phenomena. Through abstruse function, play is encouraged in order to discover exactly what lies within these strange toys.

Digital December

"Digital December" (2017-2018) is a self-invented coding challenge with the goal of creating digital art throughout the entire month of December. It is meant to strain the mind in an attempt to keep the coding fingers sharp, and also engage in ephemeral experiments while sacrificing the "preciousness" of the creation. 99% of the images were created through code (C/C++) using Processing.

Embroidery Work

My embroidery work has been a continuous project (2019-current) and an attempt to reconnect with my Ukrainian identity through manual, ever-so-slow, handiwork. The stitches emerge from traditional Ukrainian patterns, researched by yours truly via Ukrainian embroidery books and websites. Through involvement, I hope to better anchor my cultural identity, and fuel further inrospection regarding my sense of "Ukrainianess" as an immigrant in these United States.


"Parasonic" is an interactive sculpture designed to invert the function of headphones. Essentially an umbrella, the parasol is fitted with contact microphones, an amplifier, and a headphone jack. The listener is then able to plug in their headphones, and become cocooned in a sonic blanket as they traverse the world in the rain.

The piece addresses the solipstistic nature of technology, one which aims to distract/block the outside through sensory overload. I attempt to reverse engineer the headphones, making them instead into hypersensitive antennae, ones which I hope allow the reconnection and one-ness with the external.

Maksym's Curated Collection

This artist has not yet created a curated collection.