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The exceptional power of color as a medium appealing directly to the viewer has fascinated many generations of artists. Nazar Symotiuk's Color Fields series can be perceived as an echo of abstract expressionism, but in a new aesthetic form. It is a representation of perceptual meanings that create a transcendental space. Similar to the "color field" artist Barnett Newman, the author finds his own "lightning that animates everything".

The artist uses optical effects and achieves a special textured sound in his wooden panels. The depth and interaction of colors helps the viewers to dissolve in the semantic space of the works.

As Clement Greenberg, a key theorist of Abstract Expressionism, wrote, "The borders of large canvases play the same role as the inner lines of shapes. They divide, but they do not separate, close or isolate anything. They set boundaries but do not limit anything..."

The used technique of gradient stretching encourages the viewers to pay attention to the center of the composition, which is clearly defined by a vertical light accent. This series by Nazar Symotiuk demonstrates that each color field contains not only light or dark, but also a ray of truth, which is always in the middle.

Lyudmyla Smakova
art manager, curator

Metastases are pathological processes that are distant from the epicenter of the problem. How far can you abstract and how far can you move away? What if the "distance" is closer than it seemed? The prerequisite for this series was the news of the artist's friend's cancer. The news forced the artist to delve into the details related to the deadly disease. Such turning points give us a chance to rethink human life, the place of art in it, and the meaning of the insidious deception of visually attractive things.

Nazar Symotiuk: "When I saw the metastases under the microscope, I was struck by their amazing aesthetic qualities and similarity to works of abstract art. I decided not to hide my emotions, but to reflect my own perception, to convey the consequences of a terrible disease that captivates many people around me in a way that is the most accessible for me, i.e. through art. You can hang these bright works on the wall as a symbol of victory in a fierce struggle."

The wooden panels attract attention with their bright colors and skillfully placed accents, a certain chaos and at the same time grouping of details. Only the essence of metastases remains unchanged: terrible and deadly beautiful. Cancer has been defeated in the life of a particular person, and Nazar Symotiuk's creative Metastases series has become a kind of manifesto of the deceptiveness of the impression of aesthetic things and a symbol of the indomitability of each of us.

Lyudmyla Smakova
art manager, curator

The “Color Objects” series is my reinterpretation of the Suprematist legacy through the lens of minimalism and tactile materiality. Here, color is not an element applied to form — it becomes form. These objects are not carriers of color but self-contained structures where color, geometry, and material act in complete unity.

I am fascinated by how pure form, stripped of representation, begins to function as a concentrated field of meaning. In this series, I treat color as substance — it has weight, direction, and tension. Planes, volumes, and rhythms come together in restrained compositions that function as abstract architectures of perception.

Minimalism here is not about reduction, but about precision and resonance. Each “Color Object” is a meditative construct — an invitation to pause and engage with color as presence. The series navigates the space between the formal rigor of modernism and the sensual vitality of wood as medium.

Landscape is the most recent series, begun in 2026. Each work in the series takes a specific place as its starting point — California, Florida, Chicago, Detroit — and translates it into the language of geometric relief.

The composition is consistent across the series: a horizon line divides each panel into two zones. Above it, a skyline of sharp triangular forms — abstracted mountains or city silhouettes — against a flat field of color. Below it, a dense grid of wooden elements that recedes in tone and density, suggesting depth, distance, and the particular texture of looking at a landscape from far away.

These are not representations of places. They are records of how a specific light, a specific atmosphere, a specific memory of a location settles into form. The series asks what remains of a place when everything incidental is removed — and whether what remains can still be recognized.