Annotation to personal
exposition of 1981
Of Completion and
Short annotation to personal
exposition of 1992
Two spaces
On sacrifice
Ethics of beautiful
Contest design for Rekolle
International Workshop, 2005
  1. Avant-garde today
  2. Humanized space
Ability To Bring Light
Movement of the Diagonal
Artistic Credo
Articles by Other Authors
Fragments of article by O. Kostina
Fragments of article by S. Serova
Commentary to Model Monument to
Russian Philosopher V. S. Solovyov
Fragments of article by V. Perfilyev
Thinking about time. I. Svetlov
Spiritual Anxiety
Mystery of Art. S. Orlov
Master. V. Maloletkov
Academy of Arts Is Presenting
Ksenia Karpova
Mystery of Art. L. Yevdokimova
Memory. Podolsk, Moscow Region.
Granite, height 210 cm, 1988.

Fragments of article by O. Kostina

Pieta, 1990, chamotte, height 70 cm

I remember his personal exposition of 1981 both because of some individual works for his masters freedom of use of compositional space, and on the whole for the multiplicity which included even small sketches and which seemed to me superfluous at the time.

The beginning and subsequent progress of the artistic path the artist was then 42 years old seemed to be quite smooth and happy.

That was not so much due to the fact that the sculptor could embody in bronze most of his concepts, as due to the enviable firmness of the artist in the realization of the set tasks, which quality was discernable everywhere in the great variety of his works themes, in their compositional freedom from enslavement, and in the substantial character of the exposition itself.
It seemed that the artist knows very well what he wants

The sculptor emerges genuinely free in those of his works in which there is an unbiased observation of life, a non-violent and inspired plastic interpretation of the multi-faceted and dynamic reality (Dream (1985), Boys(1983).

Such is Pieta (1990), one of his latest compositions.
The artist is not afraid of concrete, and even of some measure of illustrative character of his image, the Biblical essence is perceived through a personification of the Russian woman, an almost typical figure invoking in ones memory the best works of art on the subject of World War II.

But the dynamics of the piece, achieved through masters favorite constructive lines of diagonal composition, the material warm and porous chamotte which invites the spectator to close contact, the intermediate, human-relative dimension, - all this renders to the work a contemporary coloration determining its natural character in any closed or open environment.

A wide range of realistic feelings and emotions is also a feature for the composition Memory created during the open-air symposium in Yasenki, the work making, in my view, sculptors greatest success (1988). The fine lines of the silhouette of the sitting woman, the natural wholesomeness of the composition, the music of its rhythms, the soft treatment of the stone, and the combination of incompletely cameral and monumentally and significantly persuasive shows emotional and plastic unobtrusiveness making the work organic to any space.