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Highways of the Unconscious serves as an analytical therapy that helps you to look into the depths of human understanding, harmonize hidden information, and become a key link in the formation of individual integrity. The wooden panels of this series represent perceptual meanings that have not crossed the threshold of consciousness and therefore remained in the unconscious. The "unconscious" in Nazar Symotiuk's series is a reflection of the potential form of everything that is hidden.

As Hans Dickmann, a post-Jung analyst, noted, "The unconscious goes one step ahead of the consciousness, helping it to overcome the fear of change."

Thanks to the unconscious elaboration of the problematic laid down by the creator, gradual changes in the world picture become available to the viewer. The author clearly represents the limitations of human perception, emphasizing the potential of what is hidden within the framework. The artist uses the concept of "highway" as a medium for combining meanings that exist unconsciously. Realizing that symbols do not need to be deciphered to guide, the author provides a perceptual vector accumulating the analytical perception of the viewer. The Highways of the Unconscious series by Nazar Symotiuk is a mirror of the most secret parts of your "self".

Lyudmyla Smakova
art manager, curator

“Waves” is a visual metaphor for the inner fluctuations, impulses, and rhythms that shape our emotional and subconscious landscape. In these works, the wave appears as a structure that both organizes chaos and destabilizes it, creating movement on the edge of stability and tension.
Hundreds or thousands of wooden elements build a dynamic — like a captured moment of pulsation, breathing, or an internal flow. This is not about the sea; it is about a state — about energy, memory, and the traces of experience materializing in relief.

The series explores how a wave can be both force and calm: it carries softness and pressure, repetition and the uniqueness of every impulse. Your “Waves” are a fixed form of movement, where wood begins to behave like light, sound, or breath.

The “Screens” series explores the tension between what is visible and what remains hidden, between presence and absence. In these reliefs, the screen is not merely a physical plane or obstruction — it becomes a metaphor for the mediated experience of contemporary life: observation, distance, fragmentation.

Each piece functions as a window — not one to look through directly, but to contemplate the act of looking itself. It invites the viewer to pause, to examine the moment when the surface resists interpretation, offering only glimpses, shadows, and suggestions of what might lie behind. The geometry is sharp, calculated, but never sterile; it vibrates with the question: are we truly seeing, or merely witnessing a reflection of our own assumptions?

These screens are not walls, but thresholds. They do not obstruct meaning — they define it. The viewer becomes part of the structure, implicated in the work’s internal rhythm. It is the act of looking, of standing before these visual membranes, that activates the space — revealing not only the artwork but also the hidden patterns of perception itself.

The Sin Inside series by Nazar Symotiuk appeals to the vulnerability of human souls as a result of the biblical original sin of Adam and Eve. In this story, one of the key roles is assigned to the trees of paradise: eating the fruit of the knowledge of good and evil resulted in the loss of eternal life.

Each of our choices always has consequences, and the most difficult question is how to make the right one in a perishable and horrific world. Human nature is weak and, in the pursuit of life in unity and harmony, it often attracts the opposite. It is noteworthy that the author chose wood as his medium for expressing his ideological and conceptual searches and insights. The sharp angles of the triangles that form the compositions of the works aggressively break into the space, attract attention and form labyrinths in the center of which there is the symbol of sin, an apple. The use of new formative approaches will mark a new milestone in the artist's work: meaningful, balanced and socially relevant in terms of its topic.   

At the same time, global technological progress, the development of all spheres of science and art reinforces the idea of the impact of the original sin on all of humanity. We also strive to take a bite of the fruit of the Tree of Knowledge: we sin, but we become who we are. Disappointed, confused, traumatized, but undefeated. These scars not only reflect the passage of time and events, but also embody human experience, history, originality, and uniqueness.

Everyone has a choice and own system of moral evaluation. The Sin Inside series is about the beauty of the human soul, which, despite the impermanence and temptation of the world around us, remains the supreme creation of God.  

Lyudmyla Smakova
art manager, curator