журнал ARTCARPET ArtCarpet #6 2021 ENG - Page 58

►You are called the master of the era of the peoples ’ great migration . What do you think about it ?
- For me , it is primarily features of many cultures in my works . Like a swift whirlwind which has changed the way of life , culture and habitat of many peoples and tribes , sculptures also feel interpenetration and connection of one with the other . From my point of view , they contain something valuable for the culture of a nomad , both for a representative of a sedentary lifestyle , and for a representative of the Western world and a person of the Eastern world . You know , it is as if creators of many generations , different epochs and different tribes have met in one subject , in one work with only one goal which is to know the value of life and understand what is happening in the world , whether yesterday or tomorrow . The mix of cultures , formed by migrations , crossings of trade routes , conquest of new lands , appears in bronze images . This is a kind of “ confederation of tribes ”, with three components : historical past , real today , and imaginary future .
►You have created your own mythology , developed in detail and embodied in a variety of images . Tell us about its specifics .
- In my mythology , as in the ancient ones , authentic knowledge , artistic images , moral precepts , and religious ideas are combined . The main thing in myths is their normative , prescriptive part , which accumulated the experience of mankind and brought it to every member of primitive society . There are also Gods and heroes , princesses , warriors , zoomorphic creatures , totem animals . Its specificity is that several times exist in one myth system at one time , some tribes / civilizations are replaced by others . In the same place , both Western and Eastern myth exist as one single organism . I think it ’ s interesting to watch what the warrior ’ s tomorrow will be , what secret the Goddess Sau keeps , how Ayu bala will grow up , what garden the princess will be walking in , and when the hero will be born .
►When creating a sculpture , should an artist take into account the context and the place where it will be placed or can he create without it ?
- If we are talking about sculpture as a collection work , a creator has complete freedom . He works without looking back . In this case , for me sculptor appears with inner strength and inner strength is simply not given . This is experience , skills , confidence in sculptures , abilities , first of all ( talent , gift , genius ).
Of course , the context and place should be in the sculptor ’ s attention if we are talking about street sculpture . But still , we must not forget the creative magic . Many viewers , city residents have sharp questions and discontent . For example , the problem with Russian monuments is that they are morally outdated in general . As it was previously , so it is now . This is promoted by sculptors who want to please customers , while losing the essence of creativity . As a result we get another “ jacket ” or “ machine gun ” in the city . Another reason is simple requests , remoteness of art itself . For many , it does not lie on the horizon of perception at all .
In this regard , the most successful situation is when a customer sees the world in the same way as the creator-sculptor , shares his thoughts , and trusts him . I think it will happen one day in Russia , not so fast , but it will be .
" Tree of life " carpet