The desire to crown with a
person-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 of the need
for the presence of the hierarchically supreme,
the one that determines the structure of the
person-oriented beginning in the piece of art
(«Pieta», 1990, chamotte, the «Concert by S.
Rikhter», 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. The depth of the images depends
here upon the artistic merits of the works,
upon the plastic expressiveness of the portraits,
upon the spatial and rhythmical quality of the
compositions, and upon their correspondence
to the theme.
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 V. S. Solovyov in one of his late
photographs (may be 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 felt 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, h – 3.4 m) continues at
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,
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 person-oriented beginning is possible
in a work of art only if portrait material is
Rhythmical 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
The person-oriented beginning
has found for itself expression in the portrait
of N. A. Alexeyev, the mayor of the city of
Moscow in 1886-1893 (bronze, granite, h – 55
cm, 2004), performed for the contest design
of the monument in Moscow.
The nature studies «Natasha»
and «Yulya» were modeled at the D. N. Kardovskiy
House of Art. That was also the site of the
work at the study «Maxim», a nature study for
the plastic component of the monument design…
I continue to write down my
thoughts in the hope of realizing better my
intuitions and making them more mature.