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Supplement 2001
Supplement 2005
Sincerity Is Utopian
On Monument
to Fyodor Dostoyevsky
On a Monument
to a Nurse
Cosmos III. 2002. Limestone; height 2,2 m.
Krylatskoye, Moscow
Supplement 2005

The desire to crown with an individually-oriented (ethical) beginning the aesthetically significant space of the piece of art became strong after the creation of the compositions "MYSTERY", "PIETA", and the "Duet, M. Voskresenskiy and A. Knyazev".

Such experience had been accumulated earlier than the idea became ripe for the need for the presence of such a hierarchical supreme – the one that determines the structure of the person-oriented beginning in the piece of art ("Pieta", 1990, chamotte, the "Concert by S. Richter", 1979, bronze, granite).

Intuition evidently outruns thought. To understand intuition in every subsequent work means to understand the perspective of one's creative manner.

In the compositions "Concert by A. Knyazev" (bronze, granite, 2002–2004) and "Duet, M. Voskresenskiy and A. Knyazev" the person-oriented beginning proves itself as the state of meditation in the musical creativeness of the portraited.

* * *

A concentrated purposefulness of the spiritual vision which acquired maturity in the tests of life (with life) that was approaching its finish, a more energetic purposefulness than it was during the young years – this is how I see Vladimir Solovyov in one of his late photographs (maybe in his last photograph?). It prompted to me a new version for the rendering of the bust monument to the poet-thinker (2003).

After completing the compositions "MYSTERY" and "PIETA" I sensed the possibility of the synthesis of the plastic ideas of those works. This is how the "Cosmos" and "INFINITY" appeared. The "Cosmos" (limestone, 220 cm) is the contrast of the static shell-cocoon and the plastic of an anthropomorphous figure in the process of detaching itself. The piece was created during a symposium in Moscow in 2002.

The work at the experimental version of the "INFINITY" (granite, height 3,4 m) continues at Gerlesborg, Sweden.

In these works I had to sacrifice the person-oriented beginning for the sake of the spatial logic of the composition. This is pure expansion into cosmos, archetypical intuition the barely manifested plastic of human figure in the nearly literal expression of the idea of "ascending curvature of space" (the precedents being provided by the "Steps", 1978, the "Ascension", 1980, and other works).

In the strict sense of the word, the individual-oriented beginning is possible in a work of art only if portrait material is included.

Rhythmic repetition of the forms and contrast thereof, taken as an artistic phenomenon, are studied with a closer attention than before, the same being true of the nature drawings with the premonition of going out into the sculptural composition while preserving all the richness of unexpected combinations and aspects.

For everyone must watch the eyes of the future…

Valery Yevdokimov
July–October, 2005