Sculpture Left Out in the Fields

PARK3020 · Strilky, Lviv region · Contemporary Ukrainian sculpture

PARK3020 does not put sculpture on display. It puts it out in open fields, far enough apart that looking at art becomes a walk through the landscape, and a young national collection gets the room it needs to grow.

Viacheslav Munister · 2026-09-19

Half an hour's drive from Lviv, past the village of Strilky, the land opens into long, rolling fields. Standing in them, at distances that make you walk, are a white sphere with a human profile cut into it, an eight-metre ear, a brick shell and a grove of red steel trees. This is PARK3020, the first public park of contemporary Ukrainian sculpture.

It was founded in 2020 with a clear brief: to give Ukrainian sculptors, and above all young ones, institutional, financial and educational support, a place to realise large works at home and a platform from which to be seen internationally. Six years on, the park has grown from a handful of commissions into a collection, a programme of exhibitions and an indoor art hall.

Six commissions, one field

Nazar Bilyk's Space Around is the work that has become the park's image. A human outline dissolves into the perfect form of a sphere, and with it into the space around. Bilyk, who works with the negative form of white plaster, describes these contours as both object and instrument, a way of drawing the space in which a person is present.

Oleksii Zolotar's Ear rises eight metres out of the grass. It began, the park notes, with an unsuccessful selfie, and it addresses a familiar theme, from Bosch to Van Gogh, with an urgent one: the need to listen carefully to a world in the middle of physical war and emotional overload, and to choose what to take in. Anna Zviahintseva took a very different route to scale. Her father used to twist foil into small figures while he was thinking; she enlarged one of them, a pair of legs, to a four-metre object, turning a half-conscious habit into a monument to thought.

Anton Logov's Trees of Life grow straight through the roof of a house. The landscape reminded him of the oaks of his grandparents' region near Odesa, and of the idea that to develop, a person has to cross borders and break standards. Anna Naduda's Biomorph, from the other side of the field, joins the branching form of trees to the idealised canon of ancient Greek sculpture, proposing a single form in which the bodily and the natural are the same thing.

The collection has kept growing. Zhanna Kadyrova, who tests the aesthetic potential of ordinary building materials, made a monument to a mollusc, a shell that shuts at any sign of danger, the way a person in a big city learns to. Stepan Ryabchenko's Apparition, a folded yellow column, refers to the legend of a vision said to have appeared on the site of a Kyiv botanical garden in 1862. And the GREVIS group, Volodymyr Levis and Ernest Yemeliantsev, placed a giant button in a birch clearing: a thing lost long ago that grew along with the trees, and now belongs to the landscape as much as they do.

Visiting

PARK3020 is open every day from 10:00 to 18:00, next to Edem Resort in Strilky, about 30 minutes by car from Lviv; buses 747, 842 and 843 run from Lviv bus station No. 5, followed by a 30-minute walk. Guided tours, including the exhibition halls, start at 12:00 and 15:00 and last up to two hours, and you can also walk the park on your own. A standard ticket costs 600 hryvnias; children aged 6–12, military personnel, pensioners and art students pay 300, and children under six and combat veterans enter free. Dogs are welcome, and there is parking with charging for electric cars.

The best way to see the park is slowly. The distances between the works are part of the experience: you approach a sculpture from far away, lose it behind a rise in the ground and find it again from another side. For a park that dates itself a thousand years ahead, it is a fitting pace.