In the language of sculpture, Nazar talks about how the original idea is born, how meaning gradually finds form, manifesting itself in physical space, seeks to approach the root causes of the birth of substance. When looking at the work, the viewer completes the process of creating a work with the help of his own consciousness.
Thus, Bilyk explores not only the plastic aspects, but also the mechanisms of human perception. Visualizing the very structure of the image, its "reverse side", the author seems to add new dimensions to the viewer, expanding the range of values ​​and enriching the associative range.

In the language of sculpture, Nazar talks about how the original idea is born, how meaning gradually finds form, manifesting itself in physical space, seeks to approach the root causes of the birth of substance. When looking at the work, the viewer completes the process of creating a work with the help of his own consciousness.
Thus, Bilyk explores not only the plastic aspects, but also the mechanisms of human perception. Visualizing the very structure of the image, its "reverse side", the author seems to add new dimensions to the viewer, expanding the range of values ​​and enriching the associative range.

In the language of sculpture, Nazar talks about how the original idea is born, how meaning gradually finds form, manifesting itself in physical space, seeks to approach the root causes of the birth of substance. When looking at the work, the viewer completes the process of creating a work with the help of his own consciousness.
Thus, Bilyk explores not only the plastic aspects, but also the mechanisms of human perception. Visualizing the very structure of the image, its "reverse side", the author seems to add new dimensions to the viewer, expanding the range of values ​​and enriching the associative range.

Anyone who has ever been to Landscape Alley has probably seen the 6-meter "Rain" sculpture, which is a symbol of man's connection with nature. The portrait from the series "Conditional distance" is an amorphous sculptural object that remotely resembles a human head, the face is blurred.
For Bilyk, it is this radical defocus that becomes a necessary precondition for shifting the focus from the external to the internal. Behind the outer layer there is something completely different - a classic anthropomorphic image. In this generalized image of man, finally, there is a certain existential optimism and a chance to know the unknown.

Anyone who has ever been to Landscape Alley has probably seen the 6-meter "Rain" sculpture, which is a symbol of man's connection with nature. The portrait from the series "Conditional distance" is an amorphous sculptural object that remotely resembles a human head, the face is blurred.
For Bilyk, it is this radical defocus that becomes a necessary precondition for shifting the focus from the external to the internal. Behind the outer layer there is something completely different - a classic anthropomorphic image. In this generalized image of man, finally, there is a certain existential optimism and a chance to know the unknown.

Anyone who has ever been to Landscape Alley has probably seen the 6-meter "Rain" sculpture, which is a symbol of man's connection with nature. The portrait from the series "Conditional distance" is an amorphous sculptural object that remotely resembles a human head, the face is blurred.
For Bilyk, it is this radical defocus that becomes a necessary precondition for shifting the focus from the external to the internal. Behind the outer layer there is something completely different - a classic anthropomorphic image. In this generalized image of man, finally, there is a certain existential optimism and a chance to know the unknown.

Bilyk not only creates an object, but also explores the space around it, finds a counter-form in the object, without which it does not exist on its own. Counter-forms for a person are his stereotypes, patterns and personal superstructures. They affect communication, our communication with loved ones and even with ourselves.
In the work "Closed space" it is easy to guess the outlines of the female figure, closed in the thickness of the transparent polymer, which are refracted and distorted by bizarre bends of the material and the light. The graceful figure, remotely reminiscent of Venus de Milo, is separated from the surrounding reality by a dense transparent barrier and seems frozen in time between past and present, between community and loneliness.

Bilyk not only creates an object, but also explores the space around it, finds a counter-form in the object, without which it does not exist on its own. Counter-forms for a person are his stereotypes, patterns and personal superstructures. They affect communication, our communication with loved ones and even with ourselves.
In the work "Closed space" it is easy to guess the outlines of the female figure, closed in the thickness of the transparent polymer, which are refracted and distorted by bizarre bends of the material and the light. The graceful figure, remotely reminiscent of Venus de Milo, is separated from the surrounding reality by a dense transparent barrier and seems frozen in time between past and present, between community and loneliness.

Bilyk not only creates an object, but also explores the space around it, finds a counter-form in the object, without which it does not exist on its own. Counter-forms for a person are his stereotypes, patterns and personal superstructures. They affect communication, our communication with loved ones and even with ourselves.
In the work "Closed space" it is easy to guess the outlines of the female figure, closed in the thickness of the transparent polymer, which are refracted and distorted by bizarre bends of the material and the light. The graceful figure, remotely reminiscent of Venus de Milo, is separated from the surrounding reality by a dense transparent barrier and seems frozen in time between past and present, between community and loneliness.

In this work, the author continues the main line of his style. The master explores the interaction of a man and the surrounding space, the specifics of the construction of form and its perception by our consciousness. On one hand, this work is characterized by anthropocentrism, it is focused on the image of a man, and on the other - human outlines dissolve in an ideal form and with it - in the environment.
Turning to the counterform, which in sculpture precedes the appearance of the form, the author seems to direct his gaze to the inner world and through it looks at the outer world, looks inside the process of creation.

In this work, the author continues the main line of his style. The master explores the interaction of a man and the surrounding space, the specifics of the construction of form and its perception by our consciousness. On one hand, this work is characterized by anthropocentrism, it is focused on the image of a man, and on the other - human outlines dissolve in an ideal form and with it - in the environment.
Turning to the counterform, which in sculpture precedes the appearance of the form, the author seems to direct his gaze to the inner world and through it looks at the outer world, looks inside the process of creation.

In this work, the author continues the main line of his style. The master explores the interaction of a man and the surrounding space, the specifics of the construction of form and its perception by our consciousness. On one hand, this work is characterized by anthropocentrism, it is focused on the image of a man, and on the other - human outlines dissolve in an ideal form and with it - in the environment.
Turning to the counterform, which in sculpture precedes the appearance of the form, the author seems to direct his gaze to the inner world and through it looks at the outer world, looks inside the process of creation.