Visual practitioners

This balance can also have another meaning - the meaning of the place where the opposites become an entity after the differences are settled. In this sense the sculptures are both spaces and receptacles. Their smooth surfaces invite you to touch them. Easy and clear small-scale forms allow the spectator to contact with them in a natural manner.

In this series I paid attention not only to the form, but also to its language which enables it to explain its content.
The twelve sculptures of this series show four manners of expression of balancing things.

The first manner is an organic shape. The interaction of internal and external shapes provides a sculpture with a role of a living organism. (“Volcano”, “Foetus”, “Elsa”)

The second manner is an inverse shape. It is based on the statement that for each shape there is a harmonious "non-shape". The inverse shape can bring out the existence of something else, for example, a "soul" of a sculpture. (“Decreasing Shape”, “Reflexion”,” Track”)

The third manner is a cut shape. Its aim is to keep the track of mutual transformation of the shape; to watch it segue from one shape to another while borders are being removed in a state of mutual disappearance and emergence. (“Subject of Interior”, “Two Ways”, “Disappearing Shape”)

The fourth manner is transformation. The shape is logically transformed and, as the result, a new shape appears. (“Game”, “Circle and Square”, “Emptiness behind Emptiness”)

The models of sculptures displayed here can be made of bronze, aluminum or plastic. They can be 20-40 cm high.

A Sculpture and a Viewer
My sculptures are incomplete and this incompleteness beckons the viewer to come and get absorbed: “Dear viewer, without your immersion there will be no thing to happen!” I think such involvement makes it possible for the author and the viewer to be on an equal footing.
"Volcano" is a good example of this idea. Its external shape invites to look inside and to examine the inwards.
Thus, a sculpture has its own peculiarities, but the cycle can be completed only by a viewer. So, a viewer can ask himself about where the content appears. Is it about whether the content is resident in the viewer, or whether it is resident in the work?