About the Sculptor
Curriculum vitae
Participation in symposia
List of works in museums
List of works in private collections
Monumental works
Publications, TV, Radio
Autobiographyin the Spirit of
The Artist and the Art
Creative compendium
Supplement 2001
Supplement 2005
On Monument to F.M. Dostoyevsky
On monument to nurse
 
Self - Portrait. 1976. Bronze, height 50 cm
 
Venus of Louvre 2. 1993. Paper, crayon, size 59x38 cm
 
Portrait Lyuba. 1989. Bronze, granite, natural size, 1

The Artist and the Art

The sacramental diction to the effect that life places the man according to his place was uttered by Petr Pavlovich Vvedenskiy in 1954 when he, having interrupted his explanation, noiselessly walked to stand behind me and watched me drawing for some time. The words surfaced in my memory much later, when I had been graduated from my art institute and was occupying in society my social place, as a sculpturing artist. The fulfillment of the prophesy seemed sufficient to me during some time. I realized that my position (place) was an outward expression of the actual place occupied by the artist among all other manifestations of the human creative spirit, those manifestations forming an inviolable metaphysical set the cosmos of culture. But each and every branch of creation is also a cosmos in itself. If we put it in a more precise manner every branch of creation is a microcosmic organism. It has its own intricately ramified organs which are epochs, styles, methods and manners all these performing the necessary functions of the stateliness of the wholesome and permanently growing tree that is following the image of God.

It thus became clear that the place is determined with a greater precision: that is determining to which metaphisical branch, at which level correspond at a certain specific moment-period-life-as-a-whole the creative states of the soul. This is because the destiny of an artist (or anybodys soul for that matter) is also a microcosmic organism. An organism with a logic of its own, representing an intertwining of manifestations of different qualities, realizations that form ascensions and falls. With the high points and descents of their own. We are inclined to think that the place of a creative soul shall be easier determined from the outside. For example, the place of an accomplished destiny. Or at least from a neighboring place. For example, the place of another destiny. Only a genius has the true premonition of his destiny-mission. The premonition of the inevitability of accomplishment.

This premonition appears also at the moment when a work is being created. With me it is a feeling of purification, a feeling of transition into the world of free development of shape and of a mysteriously attracting space. The absolute dimensions of plastic expression are of no significance here. The plot is good to the extent it helps to perform the association with that world. The space quality of existence comes to make the actual content of a piece of sculpture or of a drawing. It is precisely this quality which renders true depth to the subject and determines the place of the artist both in the creative and spiritual hierarchies. For the profundity of the image is unattainable without penetration into the liberating and curing world of the form, unattainable without the feeling of the transcending character of space in composition and its details. Whence the connection between the ethical and the esthetical.

I turned to different stylistic peculiarities of form at various periods of my creative career. I sometimes turned to several such form peculiarities during one and the same period of time. This row is not very wide, it is rather too well known: Leonard and Michelangelo, the ancient classical and the archaic works, the ontological mysticism of form in the art of Ancient Egypt, H. Moor and figurative expressionism, canon in old Russian Art, the archetypical symbolism in the anthropological and Christian themes (the definition of the most autocephalous part of creative activity), the realistic art of the 19-th century, the impressionism of Meunier, Rodin and Trubetskoy, the academic and studious work with the model. An ordinary particular reflection in an individual biography-drop of the ocean of the world art. I started at studies as stylization, at becoming associated with the respective culture, at making discoveries of its appropriations and its limitations. But I returned every time to my own inner feeling of form and space. I was looking everywhere for traits of one and the same state of the image that was close to me, and I was watching it awakening in the gallery of the world art of all times and all peoples.

Step by step, there began to be drawn a comparative picture of stylistic imaging possibilities which may include only respective ethical content. The connection between various phenomena of art, and between phenomena of culture as a whole, is anthropomorphous. In the best of its part this connection arranges itself according to the Incarnated Likeness which is the Christian reading of the antique expression man is the measure of all things. Man, as a phenomenon and as an idea, contains a certain row of symbols, which symbols come to be crowned by the symbolic significance of the brow and the eyes the omphalos of the spiritual image. Every one fact of art corresponds by its sources to fleshly specifity, to a form of sensualism, and it has its own specific spiritual range of content. This is equally true whether we are dealing with a whole epoch, or some particular trend, a creative destiny or a part thereof, or, at last, it may be a particular work of art or even merely an artistic vehicle.

In the first place, it has become clear that the realistic portrait cannot attain those spiritual heights and depths, it cannot express the serene sorrow and the wisdom which we discover for ourselves in the best paragons of the fronts in the Old Russian icon and fresco. These elevated states of mind are impossible to be watched in life in that state that is so refined. Those have been taken out of inward contemplation and rendered with the help of the profoundly experienced canonical purification-communion of the form. The best paragons of the icon, the fresco and the embroidery of the 12th - 17th centuries are seen by me as the highest content, the one that is accessible in art as the extreme, beyond which there is no more. This content is expressed by the state of the contemplation of the Sense of Life which state is only attainable during the short-lived lofty moments of holiness, and which as if transcends the physical limits of the body, the space where the thought and the feeling are spiritualized. This content has, however, its bodily symbol the eyes. And the sensual symbol, which is the eyesight. Form, once understood as flesh, dooms the viewer to attention to life in its emotional-sensual, mental existence. But just the same, this is something that stands the closest to icon. The realistic portrait bears the witness to the limitless value of the individual content of the individual in His image and after His likeness. Face is the symbol of the portrait art in all the richness of the genres. The antiquity has incarnated the supreme beauty as the idea of body. The body is the symbol of the art of space and plastic-sculpture. Its sensual symbol is found in the sense of touch (which is felt as a lofty experience). The ideas of life, deified at the genetic level, is symbolized as something supreme through the art of phallic cults and depictions.

The system of culture symbols may be very flexible and even individual. But it is always hierarchically anthropomorphous. The content of a piece of art depends on the theme, the subject depicted and the views of the artist. Not entirely though. The real interaction of the artist with the world is manifested in his attitude towards the form and the facture of the material, in his sense of color and sense of rhythm, space and sounding of the masses, in the specific touch and in the tempo of his work. In reverence and in violence. Both in the artists technique and in his life. This alloy is quite characteristic and tell us that the particular piece of art belongs to one culture or another, and it speaks also about the piece of art belonging to a particular artist. For example, the instability of the emotional perception is a value that is gifted by the impressionist form. (Which form may itself be symbol of various movements of the soul. The symbol and the symbolized are mutually convertible, they may be put one in the place of the other). When the artistic language is experienced at the symbolic level, the spirit of the work becomes revealed. The symbolic content of a number of works of art creates the dynamics of the creative biography which finds its place in the anthropomorphous hierarchy of the values of culture.

Valery Yevdokimov. 1995. Moscow.
Magic Mountain. Magazine III, 1995