Articles
Annotation for Personal
Exhibition of 1981
Of Completion and
Incompleteness
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
Composition
The Evolution of the "Russian Idea"
in the Visual Arts of the 12th–19th
Centuries
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
 
The Ethics of the Beautiful
 

"The beautiful was understood in antiquity
as something deep and internal, highly
ethical – as ethos."

Alexey Losev

 

An aesthetically meaningful phenomenon originates as a model of spiritualization – the only possible form of life.

* * *

Hierarchical connection between meanings is the irreplaceable spiritual-symbolic skeleton of the creative event. Its aesthetic richness and complexity always corresponds to the depth of its ethical meaning.

* * *

Any creative process is a moral process and vice versa.

* * *

Creative activity and morality are interconnected genetically through the sacrificial aspect which always lies by their sources, reveals the connection between genius and holiness, and is rooted in the life of existential conscience as its basic ethical effect.
"Genius and evil deed are incompatible" – A. Pushkin.
Not simultaneously.

* * *

A true experiencing of the beautiful is always moral. Lying in this is the meaning of the artistic creation. In the world of nature, beauty exists as a sensually attractive object. As any human's inner life develops, every movement of his soul becomes ever more morally tinted. This new dimension of experience originated together with the origination of the human being and it is vitally important for him.

* * *

The aesthetic feeling manifests itself as a form of veneration of life. Beauty and knowledge exist in a morally constructed space only, without of which man's life is impossible as such. Beauty takes part in the salvation of the world.

* * *

The march of history is not identical to moral progress, and resembles varieties of a personal fortune. There remains a certain unpredictability and the mystery of the future.

* * *

The mutual genetic connection between the creative and moral processes speaks of the similarity of their occurrence and of the simultaneity of their realization. The key place in the picture of the vegetation of both moral and creative powers of man is taken by succession of the states of élan, fall and redemption. Experience of these states is present in the creative act, filling man's entire personal life, the life of social groups, and history.

* * *

Our personality is embodied in our creative work by the ethic of our beautiful.

Valery Yevdokimov
September, 1993–July, 2005

 
Latona. Study. 1989. Paper, pencil. 45x33 cm