Person / Boris Smelov
Boris Smelov. Untitiled. 1990s
but because of some differences concerning creative work. Yekaterina Kurbanova: Maria, tell us about Petersburg of
Life as such did not matter, it existed on its own. Boris Boris Smelov.
consulted her about his works, she took part in their Mariya Snigirevskaya: He simply admired the city and did
selection. In fact, such a tandem turned out to be very not like to leave it further than Pavlovsk and Peterhof.
convenient, since my mother, being a creative person, He had his own places for photo shooting. Basically it
however, not having anything to do with photography, was Vasilievsky Island and Kolomna District — Nikolsky
could give more objective assessment.
Cathedral, Lion Bridge, New Holland. Boris felt where and
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Boris Smelov / Person
at what time it was necessary to come, when there will be
the right light. The situation Boris needed was «caught»
in certain places, at a certain time. Sometimes he ran there
at the top speed! He always has his «Leica» with him, so he
was in constant combat readiness to catch the moment. We
still go to all these places. Every time they are revealed in a
new way. He loved to capture a certain state of weather and
light — a graphic winter, fog, the sun through the clouds,
the sky…
Yekaterina Kurbanova: In addition to urban landscapes, Boris
was also interested in the still life, which was reflected in
the incredible number of his works. Where did he find those
numerous objects?
Mariya Snigirevskaya: At that time there was a fashion for
everything new, old things used to be simply thrown away
or taken to commission shops. Boris, Mom, I, and many of
our friends collected and bought everything at small prices.
So there were whole collections and interiors that served as
a requisite for photo shooting.
Yekaterina Kurbanova: We all know the photographer Smelov
for his mysterious black and white works. Did he experiment Boris Smelov. Untitled. 1980s
with color?
Mariya Snigirevskaya: He worked with color, however, his Yekaterina Kurbanova: Some photographers experiment with
most interesting works are still black and white. Color the technique of film development. Boris was one of such
photographs had short life because of the quality of the people?
material, and the black and white gamma is more expressive. Mariya Snigirevskaya: He followed the rules of the classical
Yekaterina Kurbanova: How did works by Boris evolve over the scheme, so there were no special secrets. Technique is
years?
technique, and you do not have to invent anything, because
Mariya Snigirevskaya: He changed the stories over time, creativity and design are born in the construction of
however, he always remained true to his style throughout compositions.
the creative career. Strong changes were not made. In his Yekaterina Kurbanova: What was his attitude to commercial
last years, Boris captured a lot using the infrared film, photography? Since many creative people simply do not
which was very spectacular. Everything is too beautiful accept certain restrictions.
at once, but because of this «beauty» something is Mariya Snigirevskaya: In any situation Boris was responsible
immediately lost. However, Boris managed to integrate it in his work, regardless of what he had to capture, and he
into his idea.
tried to bring something of its own into it..
Yekaterina Kurbanova: After a solo exhibition in 1976 that was
closed by the censors’ decision, Smelov lost the opportunity
to officially display his photographs until the times of
Perestroika. What happened after all the prohibitions were
left behind?
Mariya Snigirevskaya: That exhibition was simply ripped
off the walls, and Boris was very upset at that time.
During the times of Perestroika, his work turned out to
be a «nonconcept», that is, in modern terms, simply out
of the trend. On the one hand, everything was possible in
the nineties, however, on the other hand, pure creativity
became irrelevant and the emphasis shifted in favor of
some impersonal and fictitious fashion that came to us
from the West. The interests of society changed. This trend
continues up to these days. I once wanted to receive a grant
to publish a book about Boris, but I did not succeed. All
people engaged in the concept are very active and able to
make their way by pushing everything with their elbows.
Boris and many of my acquaintances are a different kind of
people in their essence. They are devoted to pure creativity
Boris Smelov. Monkey. 1982
and not to market relations, unlike conceptualists.
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