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
Birth. 1979, bronze, granite, height 60 cm.
Far East Art Museum. Khabarovsk
Bust of D. Galkovsky. 1985
Bronze, granite, natural size, 1

In Search of Own Self.
Fragments of article by V. Perfilyev


Success stays with him who, in addition to professional mastery and skill drill, has a plasticity idea.

It is actually presence of this idea that allows one to speak about sculptor’s individuality, his ability to create works that are remembered.

It is not a narrowly understood preconceived topical idea, but a plasticity idea which may be interpreted in figurative or abstract forms, may be embodied in anthropomorphous objects, may find realization in thematic compositions or may tend toward symbolic generalization.
Sculptor Valery Yevdokimov belongs to those in possession of such an idea of plasticity.

I do not wish to sound profane with regard to the artist, but the theme of his work it is not of great importance to V. Yevdokimov, be it «A Family»( 1977), «A Concert of S. Richter» (1979), «Landscape. Therapontovo» (1979), or «Ascension», «Dream» (1985), or «Contemplation» (1988).

For the foundation of his creative method is determined, as he says, ‘by the premonition of the inevitability of occurrence. This premonition comes around …during the making of the piece…this is a feeling of purification, transition into the world of free development of form and of mysteriously attractive space.’ And this is underlain, sometimes at the level of subconsciousness, by a plasticity idea.

It is noteworthy that the sculptor deems it necessary to add: «The absolute dimensions of plasticity are of no significance here.
And the subject matter is good in as much as it helps to perform the association with this world.

The spatial quality of being becomes the real content of a piece of sculpture or of a drawing.

It is this that renders the real depth to the theme and determines artist’s place both in the artistic and in the spiritual hierarchy.

For the depth of the image is unattainable without penetration into the liberating and healing world of form, without the feeling of transcendentality of space in composition and its details.
Hence connection between ethical and esthetical».

The dismemberment of forms in his «A Family» with the planimetric section of figures, as if being thrown away from the center by a shock wave and falling down from the horizontally shifted supporting platform – represents a demonstrative allegory of human division, a symbol of the tragedy of decomposition of the generalized formula of family.

The hidden dynamics of masses in this work, and Yevdokomov's favored play on the diagonal in the composition, suffice it to recall his «Ascension» (1980), «Soul and Body» (1975), «In Memoriam of A. Rublev» (1982), «Metamorphosis» (1987), and other works with their active dynamics of diagonal structure, serve as fine demonstration of the essential properties of the sculptor’s idea of plasticity.

The multiple meaning of the titles of a number V. Yevdokimov’s works represents not only a due to time, artist’s internal spiritual searching and emotionally experienced moments of human existence, but also an attempt to co-relate the ‘internal sense of form and space’ with the search for ‘the same state of the image that is close to your own self’.

…in his best works, like «Music Concert by S. Richter», the subtraction of mass from space is not only justified, but carries also a powerful load of meaning.

It is worthwhile to pay attention to one particular aspect. In compositions where masses overwhelm space – «A Date» (1982), «Cathedral» (1979), «Boys» (1983), «Dream» (1985) - V. Yevdokimov succeeds in subduing space and making it «speaking» and elastic. The same goal is also achieved through the rhythmic of volumes, the intricately balanced masses, and the dynamic composition of the work, verging on the edge of what is permissible in sculpture.

It seems that in this case the effect is reached due to the genetically typical feature of Russian sculptural traditions where the primacy of volume, mass and their architectonics have reigned supreme for many decades, were inculcated by the school and were proven with individual examples.

This must be the reason due to which V. Yevdokimov’s works which gravitate to more traditional plasticity – nude sketches and «Contemplation» (1988), «Latona» (1979), «Sleep» (1988), «Joan» (1989) – look as more accomplished, plastically wholesome and emotionally penetrating.

We see in them less of the rational beginning, less of intellectual preconception. They are more direct in senses, in the feeling of life. So space that envelopes form, ductile and elastic, enters the composition naturally, is felt unobtrusively, and interacts with mass and volume naturally too.

The symbolic-allegorical compositions by V. Yevdokimov -- «Memory» (1988, granite), «Pieta» (1991, chamotte), «Eternal Path» (1995, marble) - represent yet another line in this sculptor’s creative work.

The plastic styling, his characteristic diagonal composition, the certain decorative nature of the generalized forms, offset by folds-cuttings in some cases and by the rigid rhythm of geometrical forms in other cases, create capacious and internally expressive images where potential complexity of form combinations finds its logical resolution in the semantic context of the works.

Among V. Yevdokimov’s portraits we must point out to the concentrated ecstasy of the portrait of «Lyuba» (1989) where the density of the plastic modeling of the head is offset by the impressionist strokes of the dress, and the portrait of «D. Galkovskiy» (1985) with its characteristic contour of the well modeled head, the rarely expressive cut of the bust and the precisely rendered psychological state.

V. Yevdokimov’s drawings (sanguine, sepia) make a separate page in his creative biography. Going beyond the frameworks of preparatory studies as sculptor’s auxiliary material, they become valuable in themselves as accomplished pieces of art. The artist continues in his drawings to follow the principle of combining figure fragments in their dynamic juxtaposing and creates the visual image of beauty of female body, captured in time phases, finding in the elaborate twists and contours the perfection of forms and lines, the eternal alterability which can only become frozen in a stroke drawn on a sheet of paper.

1997 ă.