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
 

"Master"

Extract from an article by Valery Maloletkov

 
INFINITY. 2001–2011. Granite; height 3,4 . Gerlesborg, Sweden
 

A qualitatively new approach to monumental landscape sculpture is demonstrated by Valery Yevdokimov in his monumental granite compositions "MYSTERY" (1998), "PIETA" (2000) and "INFINITY" (2001-2011), all created in Sweden. In these pieces the master gradually strips the sculptural shape of the heavy fetters of artistic enslavement, and various methods of plastic reflection of his vision of the world. He approaches (particularly in the "INFINITY" composition) the summit of creative conscience, which is a symbol-sign, a kind of "Mobius strip" in granite. It reflects the tortuous quest for supreme truth in art (which is often confused with truth of life) in a summary of intense labor of the large-caliber master – who has turned Russian sculpture of the last thirty years of the 20th century into a significant phenomenon of cultural life in Russia, thus rendering it an all-European purport.

"Man. Culture. City". #69, 2009