Annotation for Personal
Exhibition of 1981
Of Completion and
Short Annotation for Personal
Exhibition of 1992
Two Spaces
The Ethics of the Beautiful
Contest design for Rekolle
International Workshop, 2005
  1. Avant-garde Today
  2. Humanized Space
The Ability To Bring Light
Movement of the Diagonal
Artistic Credo
On the Incompleteness
of the Creative Act, Sacrifice,
and Self-awareness
in the Anderssein
On Art and Life
The Code of the Plastic Art
and Space of Sculptural
The Evolution of the "Russian Idea"
in the Visual Arts of the 12th–19th
The Russian Idea, Now
and in the Future
Articles by Other Authors
The Ethics of Plastic Forms
in Valery Yevdokimov's Sculptures
Plastic Art as an Iconic
Experience: The Problem
of the Artistic Image
The Sculpture
of Valery Yevdokimov
Artificial Game
Mikhail Seleznev about
Valery Yevdokimov
Oleg Komov about
Valery Yevdokimov
Peter Baranov about
Valery Yevdokimov
Portrait – A Convergenc
of Forms
Extracts from an Article
by Olga Kostina
Extract from an Article
by Susanna Serova
Commentary on the Model
Monument of Russian Philosopher
Vladimir Solovyov
In Search of One's Own Self
Thinking About Time
Spiritual Anxiety
The Mystery of Art.
Sergey Orlov
Master. Valery Maloletkov
The Academy of Arts Presents…
The Mystery of Art.
Lubov Yevdokimova
Short Annotation for Personal Exhibition of 1992

The main purpose of the exposition consists in showing the works that were made after 1981. By that time, after the first personal exposition, it became possible to make certain observations regarding the most stable interests of the artist following his creative path. The observations made it possible to take a more conscientious approach the choice of themes and the treatment thereof, to concentrate his attention on things which are closer to his heart, which are better understood, and, henceforth – to become more sincere in his creative work.

But sincerity is a sister of wisdom whose language is always turned in the direction of the real life. Its images, and nothing else, are capable of expressing the entire richness of the shadings of relations among humans, and it is only in the human face that we can feel the inexhaustible depth of the human personality, and it is such face only that becomes dear to us. This is how I have come to understand the portrait as the supreme task of art. But understanding does not automatically mean mastering. There gradually began to be discerned the path along which it is possible to go in order to resolve the task which was stated at the end of the annotation for the personal exposition of 1981. I can express here in a somewhat different manner: the informal character of the spatial rendering of the composition – is the instrument of the plastic thinking and the method of inserting the image into the cultural and historical context. In essence, it is not a matter of humanizing the formal achievements of the contemporary art, but a matter of using those for the purpose of a more adequate expression of the human sense of the theme. This is one of the possible explanations of the plastic of the space and the form of the exhibited pieces, as well as an explanation of their approximation to the realistic line. The section of the nature study and portrait is waiting patiently for the final acceptance of its language by the structure of the topical composition. Yet another task of the exposition consists in comparing the new works against the earlier ones which are close to the new ones in their meaning, to plot the path. The revealing character of the meaning of the portrait allows, it seems to me, to hope for a more meaningful walking of that path.
But this is a perspective rather.

Valery Yevdokimov

Памяти А. Рублева. 1982. Бронза, гранит; высота 1,2 м