Articles
Annotation to personal
exposition of 1981
Of Completion and
Incompleteness
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
 

An excerpt from booklet article MYSTERY OF ART.

All realistic, figure and abstract compositions, portraits, cameral, genre and monumental works by the sculptor are united with one and the same theme study of the life of Spirit, quest for it, its birth and acquisition, which transform man, transform human personality. This unity of the categorical imperative free of creative contradictions, stands perfectly evident both in masters work at a classical portrait or a study, and in monumental sculpture which is abstracted from actual realia. The sacral quest of eternal spiritual vitality of the image, object or theme determines the rendering of the work in shape and in style. Understanding and accepting this position in the art of Yevdokimov explains the emergence of such seemingly stylistically different pieces as Mystery (Sweden) and Monument to Nurse of Great Patriotic War (Khimki, Moscow Region).

Beginning in the 1970es, Yevdokimov created in interior sculpturing an impressive series of compositions which unite elements of both realistic and non-figurative art Ferapontovo, Steps, Family, Cathedral. Cosmos and other pieces. These compositions are a quintessence of the sculptors creative principles, of his understanding of the language of modern sculpture. Their compositional rendering space in sculpture and sculpture of space - is based upon shape, rhythm, movement, interaction of the density of the sculpturing material and air, and of natural surrounding. The sculptor never stops to study their interaction, exploiting their introvert and extravert advantages (Concert of S. Richter, Ascension, Conversation, Cosmos and other works), he seeks for some sacral space of the plastic composition.

V. Yevdokimov virtually has no static compositions, all of his works feature the motif of movement, flight, hovering... It is evident that in his art this sculpturing, spatial and emotional kinetics is the absolute dominant feature, his tuning-fork. It is the motif of spiral that becomes, directly or otherwise, the foundation of the compositional architectonics in his interior, monumental and drawing works. The physical and virtual dynamics of this geometric model creates spatial and dramatic tension in the composition. In the Infinity monumental composition, movement, progressing along a spiral, becomes the subject and, at the same time, the architecture of the piece. This sculpturing rendition is found also in certain portraits and drawings.

The artist travels infinitely from the two-dimensional space of drawing into three-dimensional space of sculpture. Artists earlier works are fully academic. In the works of the latter decades we see the same kinetics that is a property of his sculpturing. V. Yevdokimov has introduced into the genre of the classical art of drawing the principle of multiplication by fixating the physical and actual kinetics of the sitter within the confines of the drawing sheet. It is captured movement rather than depiction of the sitter, that becomes the intent of the work.

L. Yevdokimova