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    A moment of dance and resistance amid the war. | DER GREIF
    A moment of dance and resistance amid the war.
    Vladislav lost his eyesight on the front. Love persisted. | DER GREIF
    Vladislav lost his eyesight on the front. Love persisted.
    Nikita sent daily “Hello, sunshine” from the front. Ana is mourning him. | DER GREIF
    Nikita sent daily “Hello, sunshine” from the front. Ana is mourning him.
    Vania was blinded by a mine in Bakhmut. | DER GREIF
    Vania was blinded by a mine in Bakhmut.
    Love and tenderness over a prosthetic eye. | DER GREIF
    Love and tenderness over a prosthetic eye.
    Spring can’t be stopped. | DER GREIF
    Spring can’t be stopped.
    Maksym Martynenko, 11, was killed alongside his parents by a Russian missile strike. | DER GREIF
    Maksym Martynenko, 11, was killed alongside his parents by a Russian missile strike.
    Paper doves in Lviv church vaults. | DER GREIF
    Paper doves in Lviv church vaults.
    The veterans’ Theatre rehearses "Eineida" theatre play. | DER GREIF
    The veterans’ Theatre rehearses "Eineida" theatre play.
    Tatarin and Angelika at Kyiv War Museum. | DER GREIF
    Tatarin and Angelika at Kyiv War Museum.
    The ordeal of Oleana Fokova, whose husband is captive in Russia. | DER GREIF
    The ordeal of Oleana Fokova, whose husband is captive in Russia.
    A father's vigil for his POW son during a prisoner exchange. | DER GREIF
    A father's vigil for his POW son during a prisoner exchange.
    Young love before an unaltered map of Ukraine. | DER GREIF
    Young love before an unaltered map of Ukraine.
    Chocolate guns ornamented with “Slava Ukraini”. | DER GREIF
    Chocolate guns ornamented with “Slava Ukraini”.
    A photoshoot near the Black Sea under missile threat. | DER GREIF
    A photoshoot near the Black Sea under missile threat.
    Annia’s work explores displacement and the body in wartime. | DER GREIF
    Annia’s work explores displacement and the body in wartime.
    A moment of normalcy at a bar between air raid sirens. | DER GREIF
    A moment of normalcy at a bar between air raid sirens.
    A tree wrapped in “rushnyk”, symbol of life and continuity. | DER GREIF
    A tree wrapped in “rushnyk”, symbol of life and continuity.
    Olga is proud of Roman, who died in Kherson saving six lives. | DER GREIF
    Olga is proud of Roman, who died in Kherson saving six lives.
    In Odesa, a little girl's eyes reflect the weight of war. | DER GREIF
    In Odesa, a little girl's eyes reflect the weight of war.
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    Frontlines of Dignity, Shredded Skies and Other Love Stories

    Artist Feature of Marylise Vigneau

    For the past fifteen years, I have been working on countries that gained independence after the implosion of the Soviet Union. My work examines the enduring aftermath of the USSR, its unaddressed colonial legacy and how political, military, and ideological structures continue to shape and destroy territories, communities, and memory. These are places where history is not resolved, where frozen pasts repeatedly resurface into the present. Since the full-scale invasion in 2022, Ukraine has become the point of convergence within this broader geography.

    I went to Ukraine to document the resistance of a people and their longing for freedom and peace. My intention was to engage with what it reveals: how unresolved histories persist, how war reshapes the present, obliterate the future, and how individuals continue to live, endure, and resist within it.

    For over four years, Ukraine has lived to the haunting rhythm of air raid sirens, the silence of nightly curfews, frontline news, and shattered hopes for peace. Yet amid loss and grief, there is also love and life. Amid devastation, there is defiance. These images honour the resilience of the Ukrainian people, their tenderness, humour, rage, and enduring will.

    Looking beyond the headlines with a tender lens, through portraits of love both enduring and broken, this project explores the intimate, human dimensions of the full-scale Russian invasion, tracing grief, loss, and the profound ways war alters identity, memory, and the texture of daily life. It asks what it means to remain human when the world turns inhumane. It affirms a solidarity with an invaded country because, really, all this sorrow cannot have been in vain.

    Amid the noise of war, this series captures a longing that persists, stronger than violence, for justice, truth, love, and peace. It also serves as a body of evidence.

    Marylise Vigneau is part of Issue 18 by Guest Editor Hank Willis Thomas.

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    Marylise Vigneau

    Marylise Vigneau is an award-winning documentary photographer and author. Raised in a secretive Parisian family, she developed an early taste for investigation and justice. Despite her literature studies, her mode of expression shifted to photography, without her knowing precisely why - perhaps the mix of precision, immediacy, truth, and lies behind every image. Her urge to tell stories persisted. What attracts her is how human beings are affected by physical and mental borders, this fugitive space where an unexpected, bold, and fragile act, or a glimpse of freedom, may arise. She works preferably on long-term projects to better explore memory and place. She likes to capture in-between moments in regions saturated with history and socio-political tensions. Her work has been published in The New York Times, Politico, The Guardian, Libération, The Wall Street Journal, and l’Oeil de la Photographie, among others. She is represented by the Anzenberger Agency in Vienna.