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I see creative work and sculpture as the creation of my own reality, where the great and the insignificant rub shoulders in the common context. The plotline and the choice of topic are of minor importance since everything existing in this reality will acquire its traits.

Earlier I tried to find new topics, it seemed they could help me identify myself and develop my own style. As I grew more experienced and self-confident, I discovered that the easier is the plot, the clearer is the task and its plastic solution. After all, an artist can’t create the world from scratch. The most interesting and exciting task however is to see the world in a new way, from your own perspective.

Sculpture means not only profession to me. It means the possibility to plastically express my attitude to an event or an object.

The language of sculpture is one of a kind. The sculpture possesses weight and texture, it is shaped by light and, finally, it casts a shadow. Its presence has an emotional impact. It is physically involved into the daily routine of a person. The sculpture and the person interact. I enjoy bringing the sculpture and the spectator together, both in personal and public projects. That is why I always prefer those of my works that are created in natural size, when the compositional space of the sculpture merges with the real space due to which a lot of new feelings arise.

The identity of the sculpture is, among other things, determined by the material used. When bronze is applied I feel as if the form were born inside bursting the surface open. If I work with wood, which is my favourite material, I construct and join the sculpture with separate pieces, like a carpenter. While doing this I preserve characteristic features of the physical properties of wood.

I have devoted much time to studying the best examples of wooden sculpture belonging to different ages. Actually I give preference to the African and Gothic Northern European traditions. I understand Africa as vital geometry. Gothic, in its turn, is more like exaltation and expressionism.

The Japanese have developed the idea of the synthesis of the right angle and the live line. That is exactly what interests me in the plastic art. I try to physically express an emotion and create the motion of the form with the help of the wooden sculpture.

The image is never at rest. Even a static object pulsates. The sculpture, like any living being, moves inside-out and even sidelong. This is the task I strive to fulfil in my work as the basic purpose of plastic art which helps reveal the idea.

The topics I have been choosing in recent years are quite distinct. Here belong moving in time and space, redefining historical achievements of our civilisation and trying to protect oneself from them as well as a quest for spirituality and overcoming of the outside brutality.

All the characters I have created are in the state of extreme emotions, they are placed into the context of fight and conflict between the spiritual and the material, between good and evil. Such a state is an eternal game on a razor’s edge with no eventual results.

Our age is restless and anti-human, with wars, different kinds of disasters and crises producing chain reactions. That is why there is no need to change eternal themes. It is the forms and ways of expressing these themes that are subject to alteration.

The plots I use are traditional. I work with certain unchangeable archetypes penetrating the whole history of the arts.

People, animals and things are pictured exaggeratedly at the moment of utmost tenseness and heat. The main point here is to depict the crisis, to break the state of rest and to eventually show shock and stress.

It is on purpose that I deform the depicted object because this allows me to intensify the psychological state of the characters.

Lines and directions are like wisps of broken cane but at the same time there is one main motion dominating the whole sculpture. This motion is exactly what defines the whole composition even if it moves towards collapse and destruction.

An ideal sculpture is a bomb blowing up the space. Provocation is what I expect from the sculpture. Or from the spectator. Essential is to create a special emotional state.

All of my works can be united in a single existential cycle. This is also true for the sculptures I have created for the public view which now can be seen in the streets. Made to entertain spectators, these sculptures have the same impact, that is, they tell us about a certain transition and motion of the characters from one state into another, they link spectators with history.

 

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