"Tell me, how did you start beading?" — "Oh, that was such an interesting story. I was given such a beaded lace, and it broke, and the beads fell down. I picked it up once, and then again, and then I told myself, 'Woman, you have a degree in physics, take scissors, cut it, and then start all over again.' I put that thread back together on a new strong lace, because it was made on a regular bobbin thread, and it captivated me. Then I realised, 'Oh, how interesting, what if i do this, or that?' — and there were no books, there was nothing. That was twenty years ago. And it kind of intrigued me a little bit. How do you do that? I began to draw on a graph paper, and then I thought: 'Listen, it is so simple, you take a squared notebook, chukh-chukh, you draw, and draw' – and I came up with different [schemes] for myself, as well as in order to explain it to someone. How do you draw it to make it look easy? And the idea came, then I did one, two, three things, and I wanted to share it with children, I was interested and they were interested. And then books began to emerge, and I saw that I was on the right track of a purely schematic representation of what was being done. I look at work now — and there is no problem. I draw, make, reconstruct old beadwork and so on. And in this regard... having withdrawn from the director's office at the Center of Children's Creativity in Sykhiv [district], I recruited the children for the beading club. This was on January 17, 2000. Nowadays it is [20]21. And all this time I've been working with kids. It is interesting for me to explore this tradition and pass it on. I have my collection of more than one and a half hundred reconstructed ancient pieces, and I still make new works on a traditional basis, inventing something new and modern that would be pleasant to wear. It seems to me that in the first place it is pleasant to wear... those ancient reconstructions. People were so... naturally sensitive to colour, the composition was beautiful. Well, everything is so extraordinary that as I look at that old work made of the horsehair that is about to scatter, the first desire is to hold your breath and restore it. Restore it, give it a second life. And I set it as a goal in my work with children. We do a lot of things. That is, I have to teach a child various techniques from scratch in a year. Put a thread in the needle, teach them how to pick beads. You spend two months, three months working on your finger — how to handle it with your finger, why your thread is not tight, all nuances of that work."