The Uncertainty of Tomorrow in Art on the “Eve” of War

Abstract

Intuitive reasoning is a fundamental aspect of both the creation and interpretation of art. It allows artists to express their deepest emotions and subconscious thoughts, leading to works that can evoke strong reactions in viewers. For those who interpret art, intuition enables a direct and holistic understanding that goes beyond analytical fragmentation, allowing for a more personal and profound engagement with the work of art. Academic research conducted on the works of Polish and Ukrainian students has shown that art in times of unrest reflects deeply hidden emotions. The works of students from Zaporizhzhia collected less than a week before the armed invasion of Ukraine in 2022 indicated national sentiments, fears, and premonitions that were absent from the works of Polish students. The armed conflict with Russia, which has been ongoing since 2014, has strengthened the sense of national identity and patriotism among Ukrainian youth. A comparison of the perspectives of Polish and Ukrainian youth shows differences resulting from direct experience of the conflict and the influence of media, education, and politics on their perception.

1. Introduction

Art is one of the most sensitive areas of human activity, reflecting the emotional states of its creators, their sensitivity, and their view of the surrounding reality. The ambiguity of collages as a form of artistic expression allows for the creation of compositions, mixing artistic materials and giving a less obvious image of a work with a varied texture using all available techniques (Law 2010).

On the “eve” of the attack on Ukraine (on 18–19 February 2022, i.e., 4 days before the war), the Department of Spatial Planning, Urban and Rural Design of the Faculty of Architecture of the Krakow University of Technology organized an International Scientific Conference entitled “Code of The City”, which was accompanied by a student competition for an artistic collage under the same title. The participants of the conference were Polish and Ukrainian universities. The Department of Design from the “Zaporizhzhia University of Technology” (Head of Department: Prof. Dr. Hab. Eng. Irina Rizhova) marked particular activity and presence at the conference and in the student works. It was the collages of students from Zaporizhzhia that allowed us to ask what art looks like in times of unrest (Vaughan 2005).

Analyzing the tone of collages and anticipating the approaching war in the works of Ukrainian students is a complex task that requires understanding both the artistic and historical context. “Art works are phenomena which are conceptualised in dialogue as well as in visual language, and as such dialogue is necessary to understand the relationships between art works and their contexts” (Charman and Ross 2004). Below, we would like to analyze the submitted images, taking into account aesthetics, symbolism, and possible messages that may indicate fears related to armed conflict.

2. Searching for the Definition of Intuition and Intuitive Thinking

Sensing war in a social, cultural, and artistic context is a complex topic that touches on many aspects of human experience (Sonntag 2003). Considerations of how different factors can affect the perception of an approaching armed conflict and how this is reflected in various areas of life must begin with the definition of a premonition (Davis-Floyd and Arvidson 2016). In order to get closer to obtaining a definition, it is also necessary to consider not only emotions but also external social and political factors (Kaplan 2018; Ringmar 2018).

Increased international tensions, aggressive rhetoric of politicians, increased military activity, and troop movements on the borders reaching the population may indicate an approaching conflict (Kaplan 2013).

It is likely that changes in internal politics, increased spending on the army, and military preparations may also signal readiness for military action. Although in relation to Ukraine, there was no earlier mobilization of reservists or the introduction of martial law, certain premises still reached society.

Intuitive reasoning may be helpful in searching for a definition, the definition1 of which refers to “experiential” thinking, associative reasoning characterized by subconsciousness and the automaticity of mental operations performed within it (Welch et al. 2007). Information processing here does not take place (as in the case of rational reasoning) based on words and symbols but through images, patterns, and associations (Reid 1981). It is holistic, unlimited in quantity, and not free from affect (Gerstenblatt 2013).

Intuitive thinking, often defined as the ability to quickly and unconsciously understand or draw conclusions, is based on the processing of information stored in long-term memory. This memory collects experiences and knowledge that are used by our mind involuntarily, often without conscious effort (Farges 2023). This process involves the automatic association of collected information, which allows quick decision-making or understanding of a situation without the need to consciously analyze every variableUnlike analytical thinking, which is conscious and requires active effort, intuitive thinking works in a passive way (Wysokińska-Obacz 1983). This means that people use it regardless of whether they want to do it or not. Thoughts that result from intuition appear spontaneously, and we do not have full control over them. While this may seem like a limitation, intuition is incredibly useful in everyday life, allowing us to react quickly in situations that do not require deep analysis. Intuitive reasoning is not only involuntary but also based on associations that are formed based on previous experiences and knowledge (Ghiselin 1985). These associations create networks in long-term memory that can be activated in response to new stimuli. When we are faced with a new situation, our mind automatically searches these networks for patterns that may be similar to those we have encountered before. In this way, we can quickly understand and respond to a situation, even if it is new to us. An important aspect of intuitive thinking is its independence from conscious effort. This means that our thoughts and decisions can be made automatically without conscious analysis. An example would be when we meet a new person and immediately feel sympathy or antipathy towards them without being able to fully explain why. Such reactions result from our internal “resources” of experiences and associations that are stored in long-term memory. Intuitive reasoning is the process in which our brain processes information and makes decisions based on previous experiences and accumulated knowledge, often without our conscious participation2.

3. Political and Social Bases of Fears

Increased propaganda activity, both in traditional and social media, can be an indicator of impending disaster. Governments may try to mobilize the public and gain its support through patriotic and nationalist narratives.

3.1. Historical Events—Introduction to the Ukraine–Russia Conflict

Crimea has played a very important role in Russian history. The defense of Sevastopol during Russia’s war with the British–French–Sardinian–Turkish coalition has become a permanent part of patriotic mythology, as have the battles on the peninsula during World War II. Despite this, in 1954, Soviet Prime Minister Nikita Khrushchev returned Crimea to the Ukrainian Soviet Socialist Republic, wishing to celebrate the 300th anniversary of the Pereyaslav Agreement (18 January 1654), which, according to Moscow’s narrative, was the final act of Ukraine’s return to Russia. Therefore, for the past 70 years, Russian Crimea belonged to the Ukrainian Soviet Socialist Republic and then, since 1991, to Ukraine.

The armed conflict in Ukraine began in 2014 with Russia’s annexation of Crimea. In 2022, the conflict escalated as a result of the Russian military invasion, driven by Russia’s geopolitical ambitions and an attempt to undermine Ukraine’s sovereignty.

3.2. The Crimea Conflict

At the end of the 18th century, Russia deprived Turkey of one of the most desirable regions of the Ottoman state. Aware of the preciousness of the area, during the reign of Joseph Stalin, descendants of Tatars were gradually displaced from Crimea, and Russians were brought in to replace them. For many years, the status quo was maintained. As Tim Weiner (2022) wrote: “The Crimean Peninsula, a base for the Russian Black Sea Fleet and an area controlled by Russia from the late 18th century until 1954 when Khrushchev handed it over to Ukraine as reparations for Stalin’s genocidal repression of its inhabitants”. Ukraine was, after all, one of the socialist republics that were part of the USSR, so the Union lost nothing from the change in Crimea’s official territorial affiliation. In 1991, the Soviet Union was divided, and the borders of the various republics were preserved. As a result, the peninsula was just annexed to Ukraine. Long-time residents of Russian ancestry were not satisfied with this fact. The situation in this regard was calmed down for a while by the recognition of Crimea as an autonomous area—the Autonomous Republic of Crimea.

In 2014, Russian soldiers took over the peninsula, and in a referendum, the majority of voters voted for the annexation of Crimea to Russia. This result was questioned by international organizations and some residents of Crimea (over 2 million inhabitants). On 16 March 2014, a referendum was held on the status of Crimea, which was controversial and inconsistent with Ukrainian law, and the UN authorities passed a resolution declaring it invalid, according to the 2001 census. Russians made up 58.3% of Crimea’s population (1,280,400 people) (Romańczuk 2020). Russia’s takeover of Crimea was one of the most extraordinary military operations in recent years. It was conducted almost without bloodshed, achieving all political and military goals.

3.3. Conflict in Eastern Ukraine

Separatists (those who support the aggressor) in the Luhansk and Donetsk regions (Figure 1) took up arms against Ukraine with the military support of Russia in March 2014. The leaders of European countries, especially Germany and France, and the European Union are involved in resolving the conflict in Ukraine—but with considerable caution. The region has always been rich in raw materials, primarily coal, but also mercury and rock salt. In the times of the USSR, it was, therefore, a real industrial basin. People from even the most remote parts of the country came there in search of work. After the collapse of the USSR, the region became part of Ukraine. However, there were still many Russian-speaking people there. After the collapse of the USSR, the industry of global importance (steelworks, mines) collapsed. It became dangerous, and unemployment prevailed. Residents could either join the pro-Russian army, receive the equivalent of about EUR 300 (this is the average salary of an assistant at a university in Ukraine), or leave. The closed mines in Donbas are also a huge ecological threat—the mines are flooded, and pollution is entering the groundwater (Ilchuk 2017).

4. Moods on the Eve of an Armed Attack—Psychological Aspects of Sensing War

The growing concerns about political and economic uncertainty since 2014 can be seen as they are also expressed through art, literature, and other forms of cultural expression.

Societies in countries with a recent history of conflict may be more sensitive to warning signs. Reactions and emotions such as anger, frustration, fear, and hope are reflected in art and culture, offering insight into how societies prepare for the possibility of war.

Artists and writers often respond to changes in the face of threats (Brourke 2017). The increased number of works with themes of war, post-apocalypse, conflict, and transience may reflect societal concerns. The appearance in art of war symbols such as soldiers, weapons, and ruins, as well as national and patriotic elements, may reflect fears of war. Also, a change in tone and mood in works of art—from optimistic and joyful to dark, pessimistic, and reflective—may indicate social unrest and anticipation of difficult times ahead.

Historical examples can be used to support this claim. Before World War II, many artists, writers, and intellectuals predicted the coming catastrophe. Their works reflected the pessimism that dominated the 1930s. During the so-called “Cold War” between the USSR and the USA, the art and culture of both nations were full of allusions to nuclear conflict, espionage, and global tension. Films, literature, and visual arts have often addressed themes related to war and survival. The relationship between art history and aesthetics is worth referring to here. As Mitchell (2002) points out—“Together, then, art history and aesthetics provide a completeness; they “cover” any conceivable question one might have about the visual arts. And if one conceives them in their most expansive manifestations, art history as a general iconology or hermeneutics of visual images, aesthetics as the study of sensation and perception, then it seems clear that they already take care of any issues that “visual studies” might want to raise (Presslein 2023). The theory of visual experience would be dealt with in aesthetics; the history of images and visual forms would be dealt with in art history”.

The current war in Ukraine has influenced artistic creativity. Many Ukrainian artists, writers, and musicians refer to themes of war, patriotism, and the suffering of civilians in their works.

Contemporary Ukrainian poetry often reflects the social and political tensions associated with the ongoing conflict in eastern Ukraine. One such example is the work of Serhiy Zhadan3, who is one of the most famous contemporary Ukrainian poets. His poems often refer to the realities of war, fears, and anxieties about the future. Here is an excerpt from the poem “Mesopotamia” by Serhiy Zhadan (Figure 2), which expresses fears of war and its consequences:

The poem “Mesopotamia” reflects deep fears and concerns about war, its sudden and unexpected arrival, and its consequences. It is a verbal collage operating with different images. Contemporary Ukrainian poetry, represented by Serhiy Zhadan’s work, is deeply rooted in the realities of the conflict and expresses the fears and concerns associated with war. This poetry is an important medium through which society can express its emotions, thoughts, and hopes for the future. Since the onset of the Russian–Ukrainian war, Serhiy Zhadan has actively supported the Armed Forces of Ukraine. He founded an organization that promotes educational and cultural initiatives and launched the project “East Reads”, which aims to enrich the libraries in the Donetsk and Luhansk regions. Zhadan resides in Kharkiv. His poems, such as “Mesopotamia”, reflect the challenging times faced by Ukrainian poets and their fellow citizens, highlighting their ongoing struggle for survival and a hopeful future.

Intuitive reasoning, often perceived as immediate understanding without conscious inference, is the subject of research in various fields of science, including psychology and philosophy (Szyryński 1946). Research on this topic was conducted, among others, by Carl Gustav Jung, for whom the definition of intuition is as follows: “Intuition, being a perception of one’s own unconscious processes, withdraws one from the object; it mounts above it, ever seeking to rule its material, to shape it, even violently, in accord ance with one’s own subjective viewpoint, though without being aware of doing so. (Jung and Beebe 2016)”. The relationship between thought processes and creativity is important to consider. In his work, Hjort (2003) discusses how the creative process can serve as a method for addressing complex problems. He suggests that this process involves a type of thinking that is different from verbal and logical reasoning—specifically, intuitive thinking.

Artists convey their emotions without a prior plan. This spontaneous expression can lead to more authentic and powerful works that deeply interact with viewers on an emotional level.

Below are the works of students on the given topic “Code of The City”. The interpretation of this term was arbitrary; the only limitation was the given form—collage. A reduced comparison of works by Polish and Ukrainian students shows the interpretation of the given topic: the Code of The City in the national comparison. Below, you can find a collection of works, including the work of Zaporizhzhia students (Figure 3) and collages of students from Cracow University of Technology (Figure 4).

The list of works also shows the students’ artistic skills, which makes more the daring use of color and texture visible among students studying design in Zaporizhzhia (Figure 5). Also, about one-third of the works were made by hand and scanned, which did not happen in the case of Polish students, where all works were created on a computer using photography and available techniques. By presenting 4 of the 51 works in the competition, we want to indicate and bring closer the differences in the perception of the symbolism of the city code in the works of Polish and Ukrainian students.

These collages depict various elements related to the history and culture of Ukraine. Many of the student works referred to similar symbols. They feature historic buildings, wooden churches, historical figures, a modern city, contemporary Zaporizhzhia, and industry important for the city’s development. The collage also includes a symbol of globalization—i.e., McDonald’s—Khortytsya, and the open-air museum located on the island, as well as figures of Cossacks, which may refer to a strong national identity and pride in history. The presence of industrial elements and modern buildings indicates pride in the development and technical progress (Zaporizhzhia, an industrial city, is the manufacturer of the Zaporozhets car brand, known throughout Europe in the previous century), but at the same time, possible threats related to conflicts in regions of strategic importance. Registered Cossacks (whose birthplace is Khortytsya) may symbolize readiness to defend the country and refer to the historical struggles for Ukraine’s independence.

These collages present a colorful, geometric interpretation of the urban landscape without reference to location. They are characterized by cosmopolitanism, which means less attachment to one’s place of residence, nation, or city. Using geometric shapes and bright colors can symbolize order, harmony, and hope for the future (Figure 6). Surrealist elements can indicate the unreality and chaos of contemporary urban life, which can be a metaphor for uncertainty and threats.

5. Results—Analysis of Collages of Students from Krakow and Zaporozhye

Thirty-nine student works from Zaporizhzhia were assessed, of which eight works were made by male students, and the remaining works were made by female students. Twelve works were made by students from the Faculty of Architecture of the Krakow University of Technology, of which three works were made by men, and the remaining works were made by women. The number reflects the constantly strengthening feminization of architecture faculties regardless of the country (approx. 20–25% men). The competition took part. Therefore, gender analysis does not affect the results much in this case because the gender ratio in both cases is in a similar range, which suggests that the view of the surrounding reality or the anxiety related to the uncertainty of times is similar for both sexes (

Table 1. Percentage of gender in relation to the collected works. Source—own study.

University	Total Number of Works	Women	Men	Percentage of Men in the Study Group
National University“Zaporizhzhia Polytechnic”	39	31	8	≈20%
Cracow University of Technology	12	8	3	25%

).

The collages created by Ukrainian students are rich in symbolism and multi-dimensional messages. They combine historical and modern elements, expressing pride in the past and fears of the future at the same time. These images reflect both hopes for development and peace and fears of war and conflict, which is natural in the context of the ongoing crisis in Ukraine. These works are not only a form of artistic expression but also a social and political commentary that allows young Ukrainians to better understand the contemporary realities of life.

6. Discussion—Analysis of Collages

6.1. Analysis of Ukrainian Collages

The collages of Ukrainian students, depicting historical, modern, surreal, and symbolic elements, can be interpreted (Persons 2010) as an expression of anxieties and fears of war. Individual elements can be interpreted in the context of anticipating conflict as follows:

• Indication of awareness and readiness to defend oneself, and reminders of historical struggles and sacrifices (historical figures and war motifs);
• Symbolism of chaos and uncertainty accompanying social and political turmoil (surreal elements);
• Subconscious indication of the importance of strategic locations and infrastructure that can be targeted in times of war (industrial elements and urban infrastructure).

Regardless of the interpretation, many works repeated national symbolism, a connection to history, national roots, and the greatness of Ukraine during the Cossack Sich, the cradle of which is the island of Khortytsia located in the center of Zaporizhzhia in the Dnieper backwaters (Figure 7).

The collages were assessed in terms of selected determinants indicating the author’s mood and feelings. The selection of elements was made based on the projective method used in psychology in qualitative research, the aim of which is to deeply analyze a given phenomenon. This modified method indicated the interpretation criteria. Since it refers to young adults who are often stuck in “cultural tracings”, the final criteria were based on the frequency of repetition of image elements.

• National symbols, e.g., flag, coat of arms, “tryzub”;
• National bards and artists, e.g., Lesya Ukrainka, Taras Shevchenko, sculptors, or national symbols such as Ataman or Vernyhora;
• Hometown Zaporizhzhia as a direct message, e.g., flag, monuments, industry, services, infrastructure;
• Cossacks as a symbol of national strength—Zaporozhian Cossacks;
• Cossacks as a symbol of national freedom—Khrotytsia symbol of the Sich;
• Symbols of peace, e.g., doves, olive branches, hands;
• Symbols of belonging to Europe, connection with the European Union, symbols of globalization;
• Other indirect symbols of safety—sun, playing children, free animals;
• Other indirect symbols of happiness—colorful balloons, bread on the table, fruit;
• Other elements of stabilization—forests, trees, rivers, cities, parks, harmonious landscape elements;
• Manifestations of power—weapons, fighting, war;
• Elements of anxiety contained in color and texture as a symbol of the threat.

6.2. Analysis of Polish Collage

All Polish works were characterized by the fact that their preparation was supported by a computer process. Ukrainian architecture departments still pay great attention to freehand drawing, which can translate into greater sensitivity and artistic expression. An important factor that seems to be significant in the creative process and its effects visible in the presented Polish collages are the influences of the Western cultural circle, the sense of aesthetics and the cult of minimalism, and the didactic process of the Krakow School of Architecture and the ideals of the modernist design school, including Ludwig Mies van der Rohe (one of whose most famous quotes is “Less is more”, which characterizes the approach based on reducing the amount of detail and minimalism).

Collages of Polish students were subjected to a similar analysis (Figure 8). Some determinants were changed or replaced with their equivalents related to the hometown and Polishness:

13.

National symbols, e.g., flag, coat of arms;

14.

National bards and artists, e.g., Jan Matejko, Adam Mickiewicz, Fryderyk Chopin;

15.

Hometown Krakow as a direct message, e.g., coat of arms, monuments, industry, services, infrastructure;

16.

Hussars as a symbol of national strength;

17.

Symbol of the nation’s freedom—Fighting Poland;

18.

Symbols of peace, e.g., doves, olive branches, hands;

19.

Symbols of belonging to Europe, connection with the European Union, symbols of globalization;

20.

Other indirect symbols of safety—the sun, playing children, free animals;

21.

Other indirect symbols of happiness—colorful balloons, bread on the table, fruit;

22.

Other stabilizing elements—forests, trees, rivers, cities, parks, willows, harmonious landscape elements;

23.

Manifestations of power—weapons, fighting, war;

24.

Elements of anxiety contained in color and texture as a symbol of threat.

Figure 8. Quantitative distribution of determinants in the works of students from Cracow. Source: own study.

Figure 8. Quantitative distribution of determinants in the works of students from Cracow. Source: own study.

After analysis, it can be stated that they did not show any content with significance to national freedom but rather of global and egalitarian significance. Many factors may have an impact on this, but in particular, the proximity of the conflict is notable. A comparison of the premonition of anxiety related to the war in Polish and Ukrainian youth shows differences resulting from direct experience of the conflict and the influence of the media, education, and politics on their perception (Munro 1941). Both groups have different perspectives, which are shaped by their unique experiences and cultural context.

7. Conclusions

Ukrainian youth have been directly experiencing the effects of war since 2014, which shapes their deep sense of patriotism, political awareness, and hope for a better future. Polish youth, on the other hand, although not directly affected by the conflict, show great empathy and solidarity with Ukraine, engaging in aid activities and trying to understand the complicated historical and political background of the conflict. These differences result mainly from the direct war experiences of Ukrainians and the relative safety and geographical remoteness experienced by young Poles. Sensing war is possible through the analysis of many social, political, cultural, and psychological indicators. Art and culture play a key role in expressing and reflecting social unrest. The works of Ukrainian students, full of symbolism and diverse motifs, can be interpreted as a reaction to the ongoing conflict and fears of its escalation. In this way, art becomes a medium through which society communicates its fears, hopes, and readiness for the future. The creator pays tribute to it in a way that is both sublime and simple, maintaining extraordinary simplicity and textural clarity.