Serhiy Sobolev, "Morphology"
ARTinvestment.RU   13 июня 2012

In the gallery, "11.12" in CSI "Winery" is the first solo exhibition of sculptor Sergey Sobolev

Gallery "11.12" (SRC Winery), May 24 - June 24, 2012
Moscow, 4th Syromyatnicheskiy lane., 1/6

In the gallery, "11.12", an exhibition of artist Sergey Sobolev, entitled "Morphology." This is the first exhibition of the young sculptor, who in his work explores the possibility of a form.

Serhiy Sobolev Source: Press Release "Galleries 11.12»

Serhiy Sobolev Source: Press Release "Galleries 11.12»

"The sculpture - a surface and volume, and as it has an internal volume of space. It can dive, you can pass through it. Sergei Sobolev, an intuitive artist, and his intellectual requirements for the form and are largely intuitive.

He talks about the perception of the infant, and this indication should be seen that the original integrity, which seeks to perception of the sculptor, seeks to present a coherent logic of the visual condition that rules the world. World of forms.

Littered items and names around the world with such a perception is released from the transparent characters and shows us its metaphysical crystal inside out. We're starting to see in this sculpture, it frees concise meditative potential. Physical time is derived from our perception, or returning to the object, the function of the form »( Alexander gospel, curator of the exhibition).

Interview with Sergei Sofia Terekhova Sobolev :

Sofia Terekhov: Sergei, what is modern sculpture? Now a lot of talk about the death of painting, the disappearance of pure aesthetics. How can you determine the place of sculpture in contemporary art?

Sergei Sobolev : I have many thoughts on this subject, I too am trying to understand what a modern sculpture of what she was doing. As the music - a sound sculpture for me is a form. This kind of element, the domain of feelings, which is associated with the form. With its visual side, tactile, but not necessarily with the form. This specific language is very old, he lives inside of everyone, everyone understands it. And in fact, the farther we are from the art, so perhaps a better understanding of the language in some primitive sense. The sensitivity is reduced, the more dominant intelligence head, when there are questions of "how" "why", "why».

As for modern sculpture, I studied in an academic institution, is not always knowing what is there taught, I looked at the sculpture of the twentieth century, it bothered me, was interested. Basically, where there is already dominated by abstract forms, conventions, nonrepresentational. Already, there was "antiestetika" tendencies, denying the concept of beauty. The fact that now prevails, and is actively developing this genre, does not mean that he opposed the sculpture. When the photograph appeared, it did not mean that painting is dead. Just took up painting color, and the picture took the visual function. Therefore, the painter, who is now trying to copy something from nature, a bit strange is perceived. On the other hand, it is obvious that the work of Mark Rothko's picture is no substitute. This is done in sculpture. When an artist calls his work is not sculpture, but an object, it usually means that we want to convey a certain message across. Sometimes it's interesting, sometimes not. In any case, for me this way more interesting than the traditional. There are contemporary works that use the facilities, bulk composition, and you realize that with their help, the author has made some visual effect. This means that the author chose the right tools.

Serhiy Sobolev Source: Press Release "Galleries 11.12»

Serhiy Sobolev Source: Press Release "Galleries 11.12»

S. T . : It turns out that we still share the sculpture and object? What you see is their main difference?

S. C. : I think it individually. The sculpture belongs to the traditional genre, it has its own canons to be followed. And no matter what the object does not apply. This is another form of art, more art concepts. I take a thing, put on another, and in fact, since no one has ever done these things, it turns out the conflict of concepts. That's interesting. This is an exciting genre, I just have a reverent attitude to form. When not thinking about aesthetics, it warps me, it is certain conservatism. How do some people eat in restaurants, and other than the need, at first there is food culture, others do not. When do modern, three-dimensional objects are often interesting, sometimes people do not have enough culture. In creating the same object, you can lay more layers, saturate it with information.

S. T . : I know many young people who studied sculpture in traditional schools, but eventually went into architecture because there are more opportunities for new plastic solutions. Why, coming from an academic institution, you began to engage in contemporary sculpture, as you were formed as a sculptor?

S. C. : I also feel like a part of an architect, I like to find architectural forms, coming up the interiors. Again, when the form is space, then there is a functional binding uninteresting.

Again, I went through all the stages of academic education, of course, I liked the Renaissance, Greece and antiquity. But the more I was fascinated modern art. Because I feel in his own sculpture and form, even at the institute, working on the sketches, I have abstracted from them. Sometimes I felt like I was looking at an object - like a huge building or mountain, and I fly around in a helicopter. I saw him as the volumes of emptiness, landscapes. And then I realized that I do not have enough power, attention and memory in my head to the desired accuracy, and with interest to portray all the details. And it is not necessary. I became a commonplace to simplify the task. I have included some zoom. For example, I like the fragments of antiquity, and the recovered items in museums like me less, because it turns out that all is not well tailored. Therefore, in the Institute, I began to simplify the problem, take some fragments to study or simple shapes. Actually, way back I do not.

S. T: So what you are true to his method. You say that in his work creating the simplest forms of the alphabet. You call their primary elements, a tool for the creation of language. Tell us about it.

S. C. : A person may not know the anatomy and drawing, for example, the portrait, trying to copy the chiaroscuro, not knowing what is its nature. Over time, the study of nature, to me it's the realization that everything is built on the basic elements of the simplest concepts. My eyes focused on them because they are repeated a hundred times, it makes no sense to duplicate elsewhere. But if you're interested in, for example, the transition of the "antiform" You're doing it, and it turns out that you have it associated with certain things, it is recognizable because it occurs in nature whenever a person reads it, but in fact it is two basic elements.

S. TA: How exactly do you use it in your sculpture? How does this language?

S. C. : There was a time when I really became interested in logos, trademarks, it was interesting - take a pretty broad topic, the situation and bring it to the level of a particular character. Even developed a new term, "a sculptural logo." I find it is important to point. And I, too, in a sculpture about doing it - I bring my things to a specific character.

S. TA: How do you work with the material? He pushes you to create a form, perhaps, like Michelangelo, cutting off all superfluous, or do you go from an abstract image that emerged in the head?

S. C. : For me, the material is not of paramount importance. Sometimes, suddenly, comes a certain image of nowhere, there is a certain periodicity. When you realize that from him no longer get away, at some point you begin to materialize, in parallel to find him new ideas, it is saturated with information.

I'm not so much rely on the material how much I want to achieve a certain effect. I like to work with white. Such materials are not a lot, I often work with a white polymer, at the "Morphology" in the gallery of 11.12 will be made of porcelain.

White material - this is the maximum concentration on the form. I am interested in the shadows, midtones, they change the lighting, and sculpture lives with light. Every material has a texture, color, and this is a distraction from the perfect form, from the exact nuances that are interesting to me.

S. TA: Your style - minimalist, sterile genre. What are the pitfalls, what is the essence of this style in sculpture?

S. On .: My minimalism is just that I try to bring in the vast concept to a certain character, character. The second side of minimalism - a kind of selectivity, I call it "subjective minimalism." The objective of minimalism - a point or even its absence. Denial and simplifying leads to emptiness. In the subjective world of minimalism, I share a picture that I see before my eyes, what I want to see, and what I do not want to see. Say you need me, I choose, then try to discover the essence and simplicity of this method of election. In art, not to do anything extra that you do not need, not interested.

Serhiy Sobolev Source: Press Release "Galleries 11.12»

S. T: You often talk about intuition, about its significance for the artist.

S. C. : Intuition most valuable thing a painter. Because the mind, logic, analysis ... They are two-dimensional and do not give these answers, do not give joy, pleasure, they can provide only temporary answers. The area of ​​emotions, feelings and intuition are much more valuable to me. My work then take on the generally accepted for the sculpture informative, but in the puzzle game, this information content grows later. The image of the primary, and then you are helpless: he or comes or not.

S. T.: Exhibition - an opportunity to look at his art from the outside. To understand it in the context of both his work and art in general. Tell us about your solo exhibition at the gallery «11.12».

S. C. : I would not so new, but rather to summarize what has been achieved. The result was a broad topic, "Morphology", although the morphology of my mostly organic, natural, comes from early education. This interpretation of the visual experience that has accumulated over the years and observing nature. The objects on display - it is rather large sketches of sculptures. If you enlarge them, they will gain scale and architectural features. When included an instinctive perception of form, we can talk about this sculpture.

All my work is quite consonant, consonant, and thematically, and plastic. I call them "simple form". The main idea of ​​the exhibition - the morphology - in my case means a literal study of the form. At the exhibition I am showing some aspects of this work, especially the influence of the scale and impact of lighting on the perception of form.

S. T: You're talking about scale, about the possibilities of your work. In what space you see them - a house, a street, the museum?

S. C. : They are definitely needed the space and air. In a sense, these works - the luxury of cleanliness and emptiness. Who can afford it? It may be a museum, and a spacious hall, a big house, because they, of course, be lost, if there will be many household items.

Sometimes it seems that so much has been done, especially in the city, people live in such a noise, in such a quantity of things, stresses that there should be a piece of emptiness, the time of discharge. Of course, these sculptures are not about emptiness, there is little else for the time in which another space.

I often hear that my sculpture as it is invisible at first sight, but the longer it look, the more difficult to withdraw from her eyes. It merges with the space and it becomes vital, as opposed to flashy and catchy things that can quickly tire.

Source : Press Release Gallery "11.12"