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
PIETA. 1999 2000. Gerlesborg, Sweden.
Granite, height 230 cm

Supplement 2001

Experience that is wholesome and not dissected into fragments representation of lives of other people and of own life comes to make a unified image and supplies an example of compositional thinking for the sake of the plastic. For one, this includes the previously realized desire to generalize in a single unified composition the main Evangelical themes.

Duet. M. Voskresenskiy and A. Knyazev. 2000 Bronze, granite, height 62 cm

The composition must emerge as a materialized prayer, the Formula of Life understood as the Bearing of the Cross, where the act of the Crucifixion is the culmination. But what for is this repeated in the life of every human being? The answer is provided by the subsequent Taking from the Cross and the Resurrection-Ascension: for acquiring Eternal Life. The Evangelical themes that take place in time exist simultaneously in the plastic, just as they exist in Eternity, and they turn into the formula of Sacrament a prayer.

This is how the composition Mystery appeared in 1997-98 (granite, height 3.2 m, town of Hunnebostrand), it was performed at a symposium in Sweden. The plastic of the Crucifixion became the central theme in it. The subjects of the Bearing of the Cross, the Taking from the Cross and the Ascension, which all of them were equal from the point of view of content, received reserved spatial development.

In the next attempt at trying to express the plastic monolith of the mystery of the New Testament there emerged the need for making weaker the attention accorded to the Crucifixion, for greater stressing of the dramatic character of the mutual flowing of the forms in the themes of Taking from the Cross and Pieta, and for making the accent on the human component of all those subjects. (PIETA, granite, height 2.3 m, town of Gerlesborg, Sweden. 2000-2003).

The fact that the events take place simultaneously results in their combination in our conscience where they come to take gradually the same mental space. Thus, for example, take the images of the performers in sounding of the musical ensemble (the Duet, M. Voskresenskiy and A. Knyazev, bronze, granite, 2000). The composition portrait seems to be the most promising genre on the road to acquiring synthesis in the contradictory process of culture.

In addition to the proper valuable sense, the work with the model begins to acquire a growing conceptual character. (Galatea, bronze, granite, 2000). The drawing from nature makes a study of the same spatial situations that a sculpture does. (The drawings of the 1990-es).

Valery Yevdokimov
May, 2001