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
Extracts from an Article by Olga Kostina

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

But the dynamics of the piece – achieved through the master's favorite constructional 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 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, sculptor's 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.


Memory. 1988. Granite; height 2,1 m. Podolsk, Moscow Region