Oksana Briukhovetska works with drawing, textile, installation and interventions in public spaces, and writes texts about contemporary Ukrainian art. Deeply connected to the feminist activist landscape of Kyiv, she collaborated with the Feminist Ofenzyva in the 2010s and its project “The Women’s Work Unit”, and in 2021 and 2023 co-curated the Ukrainian chapter of the Secondary Archive, a platform for women artists from Central and Eastern Europe.
In 2003 O. Briukhovetska graduated from the National Academy of Visual Arts and Architecture, Kyiv. In 2020 she temporarily moved to the United States, although maintaining a strong connection to Ukraine. In 2023 she completed an MFA at the Stamps School of Art and Design at the University of Michigan, where she researched and practiced textile collage.

O. Briukhovetska’s art is intertwined with community engagement, which was visible in her role as curator at the Visual Culture Research Center (VCRC) in Kyiv (2011–2019), where she curated exhibitions on the topics of poverty, labour, maternity and gender, and worked with feminist artists from Ukraine and Eastern Europe. Her projects during this period included Ukrainian Body; What in Me is Feminine? and TEXTUS: Embroidery, Textile, Feminism, as part of which she also presented her textile work Suit Jackets (2017). In 2017–2019, together with Lesia Kulchynska, O. Briukhovetska conducted research and co-edited the book The Right to Truth: Conversations on Art and Feminism, a collection of interviews with feminist artists, activists and thinkers from Ukraine, Eastern Europe, France and the United States.

In the United States in the 2020s, O. Briukhovetska became involved in the Black Lives Matter movement. Observing the poor coverage of these events in her home country, she collected interviews with the movement’s participants from different cities in the United States, translating and publishing them in the Ukrainian media. She also created the audio-visual installation Racism Doesn’t Make Sense (2021), which comprises drawings (the portraits of participants) and audio fragments from these interviews. Her textile collage, In Solidarity with Ukraine (2022), presents the image of solidarity between women of different skin tones in a Ukrainian sunflower field. When the Russian invasion of Ukraine unfolded, the work was under creation, and the initial idea of rethinking the meaning of the People’s Friendship Arch, a monument in Kyiv, evolved into the idea of mutual support and seeking for freedom. Her work achieves a deeper level of intimacy in her use of textile collage as a healing practice that allows the processing of trauma through manual labour.

In her series Uncle Tolia (2016) and Songs and Flowers for Ukraine (2022–2023) she narrates stories of the ongoing Russian war in Ukraine. Uncle Tolia is a visual personal documentary that O. Briukhovetska put together after listening to a Ukrainian soldier whom she met on a train. In Songs and Flowers for Ukraine, she conveys the story of war, loss and intergenerational trauma through handmade textile collages, using her own family archive.

For her curatorial achievements, O. Briukhovetska received the Igor Zabel Award Grant for Culture and Theory in 2022. In 2023 she was the finalist of the Hopwood Graduate Fiction Award and winner of the Chamberlain Award for Creative Writing.