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.
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).