She began to practise the traditional painting of Pobuzhzhia in 2017. The first large work was a series of 13 folk pictures that reflect the calendar year by months. These are narrative works decorated with painting in bands — friezes, elements of clothing, household things. The artist thought through every detail of the drawing so carefully that from separate fragments one may tell the month for which the image was made.

Beside the themes of love, family warmth, fidelity and goodness, the artist also treats the tragic themes of the present — war, pain, ruin. The question of ecocide as a consequence of the Russian–Ukrainian war is the subject of a triptych made up of the pictures The Earth Burns Not with the Bloom of Poppies, Not Those Birds in Our Sky, Not Those Treasures on the Sea Floor. At first glance the works show a wholly peaceful life; only looking closer does one notice drones that accompany the birds in the sky, or mines with which a school of dolphins is at play.

Compositions of ornamental motifs are shown mostly on ceramic plates and panels. Sometimes the master gives the accent to a single element, which she brings to the centre of the work. This may be a sailing boat, a “rose of the winds,” dolphins, a tree of life (a vase) or a pair of birds. They are organically completed by a decorative band along the rim of the plate, made of different traditional elements of Tavrian painting: waves, drops, fish, seaweeds, matula, little boats, little lighthouses. At times the whole plate is densely covered with traditional motifs.

As a true master, Liubov Paraniuk experiments with monumental painting. Of course she uses contemporary materials, but through them a sense of being carried into the past is reached. One seems to arrive on Kinburn, with its clay houses whitewashed in the colour of “grey mist” and wrapped in the blue lace of Tavrian painting. She has carried out work on the decoration of wall surfaces in an office of the now destroyed building of the Mykolaiv Regional State Administration; on public-transport stops in the Kutsurub community of the Mykolaiv Region and in the Starokostiantyniv urban territorial community of the Khmelnytskyi Region; on a folk interior in the display of the Mykolaiv Regional Local History Museum; and in the ethno-location “Grandfather’s House” at the Mykolaiv Zoo (a shared work with the master’s pupils).