Lesia Maruschak is an artist, bookmaker, and cultural steward. Artist books are central to her practice. Conceived as autonomous and performative works, they bring together photography, archival research, and material processes to hold testimony, historical rupture, and inherited memory within the book form.
Developed as limited editions, these books function as temporal containers and are intended for durational engagement and long-term stewardship within research libraries, museums, and special collections. While some projects originate from broader photographic or archival works, each book stands independently, shaped by sequence, restraint, material encounter, and care.
Select a title to view the book and related materials.
Artist book | multi-part work | 2026
A testimony-based artist book translating accounts by Ukrainian children rescued from Russian captivity. The work operates through poetic condensation, typographic intervention, and archival process.
Conceived as a performative object and intended for long-term institutional stewardship. Initial release of Vol. 1 presented at CODEX 2026.
Artist book | First issued 2019 · Revised edition 2025
Anchored by an embroidered Ukrainian vyshyvanka, this artist book traces inheritance, gendered labour, and cultural survival. The 2025 edition is fully re-sequenced and materially reworked in response to shifting historical context.
Conceived as a performative object and intended for long-term institutional stewardship.
TRANSFIGURATION — Folio
Folio | 2024
A folio extending TRANSFIGURATION into a portfolio format. The work foregrounds individual images and material presence for exhibition, teaching, and special-collections contexts.
Artist book | 2022
Artist book confronting the internment of Ukrainians in Canada through archival fragments and photographic sequence. The work unfolds through accumulation, absence, and material restraint.
Conceived as a performative object and intended for long-term institutional stewardship.
Artist book | 2019
Centred on the testimony of Maria, a survivor of the 1932–33 famine-genocide in Soviet Ukraine. The book moves through photographic sequencing and erasure to hold conditions of famine, survival, and historical disappearance.
Images function as presences rather than illustration.