While living in a refugee center for two years, I researched its interior and exterior. I visually touched the space and analyzed it. I have documented this in the form of photographs, videos and audio sketches. I analyzed the refugee center in the context of its space and from the point of view of an advertising designer. I worked on the design and creation of the visual identity of the refugee center. The work touches many aspects of refugee life, such as activities, the environment, nutrition and food, daily life, and interaction with the environment outside the center.
When I was still living in Ukraine, I had no idea what a refugee centre was and who lived there. Suddenly, because of the threats and persecution, I had to leave my country. The reason for the persecution was my art. I ended up in the refugee centre, and I experienced the charm of this place myself. A refugee centre is like a black hole in the urban space or in the place it is located. There is no sense of time in the centre. Every day is repeated and everything is the same. The place is slowly killing everything inside you. From the place where you were born and where you lived, they took you away like trash. And the new society where you arrived is in no hurry to accept or even to notice you. The refugees are stuck between the past and the future, being somewhere in the middle, in a strange position. They cannot return to their homeland, and their future is vague.
On February 24, 2022, the world changed because of the war in Ukraine that Russia started in order to destroy democracy and freedom. The biggest migration crisis in the world in the 21st century has erupted. Because of the war, 5 million 100 thousand people had to leave their homes and become refugees, and this is just the beginning. About 40,000 refugees from Ukraine have already been registered in Finland. The war also affected my wife and my relatives, among whom were small children, a pregnant girl and our elderly parents. They had to leave home and become refugees in Finland.
At that time, the project transformed into another stage. In the first stage of the project, I was a direct subject of it and a refugee, and my task was to document and research the space of the refugee center, creating a portrait of the center. And in the second stage of the project, everything changed and became more complicated: I became an observer and a guide. My project started working in a different direction and connected directly with my family. The project became personal and intimate.
The importance of 'Impersonal' lies in the fact that it aims to draw the curtain and show up close to the Finnish society what the refugee centre is, and what problems people are faced with there.