Concept
The project explores the phenomenon of belonging and the illusion of what a person is used to thinking of as his own. We live in constant transitions: the house collapses, the city changes, and nature resists. Anything that seems sustainable eventually loses shape. The exhibition combines sculptures, paintings, and graphics and is designed as a path from the outside to the inside. Physical objects are gradually becoming barriers through which the viewer does not immediately see the central work. It’s part of the plan: to go through layers of fragile, unreliable spaces before approaching the stable space of love. At the center of the exhibition is a work of love. In my artistic purpose, love creates a special space independent of the fragility of the material world. I do not define it literally or assert it as the truth — it is important for me only to imagine that what we have experienced in love does not disappear without trace, but is gathered in another inner space that is not subject to destruction and time.
Exposition
Macket.
Sculptures
Subject: Lastochka
My childhood was divided between two cities, Sukhumi and Tkuarchal. It was in Tkuarchael, under the roof and in the corners of the house, that the swallows used their nests. They were part of this place — his air, his sounds, and his morning motion.
88 cm x 140 cm x 37 cm Panopolistyrol, mixed machinery
When I was moving between cities, it felt particularly acutely that these swallows were mine, but it was impossible to take them with me. This was the first clear understanding: there are things to which we are attached with all our hearts, but the physical world does not allow them to be held.
In the sculpture, the lace sits on fragments of a abandoned house — destroyed columns, arches, and debris of an architecture that has lost resilience. These elements are gradually growing up in lyanas, as if nature was returning to itself the space that man once called his own. The sculpture is partially painted and partly white as a trace of slipping memory.
Subject: «The cat on the dresser»
One of the hardest experiments I’ve ever had was not being able to take my cat with me. While I was in another country, he died. I couldn’t be around, and I couldn’t even live through this moment of loss, and that distance made the loss even more tangible.
64 cm x 160 cm x 38 cm Panopolistyrol, mixed machinery
I created a sculpture of a cat sitting on a dresser. It looks calm, almost stable, but the drawer itself is badly damaged — it has holes and cracks.
The comedian is not equal to the cat itself, but it becomes important as a bearer of fragility. The destruction begins with the foundation, and there is a sense of inevitability: even what seems to be closest and «ours» remains a physical object, and thus is subject to time and loss.
Subject: «Treats in a vase»
The next object left behind on the move was the flowers in the vase. It’s not just one particular flower, it’s a synthesis of many of the flowers I had to leave behind. Through this image, I’m trying to convey the very situation of breaking up with them.
17 cm x 64 cm x 18 cm Panopolistyrol, mixed machinery
In this sculpture, the vase is broken, and its cracks begin to grow roots. The flower is still alive and as if it’s sustainable, but this stability is temporary. Without leaving, without being present, he will inevitably die in time. A destroyed vase becomes not just a shape here, but a sign that living is held only for a while.
Painting
In addition to the sculptures, I’m creating a series of paintings that continue the subject of twilight and loss, but that solve it in a different way. If objects are still physically present in the sculptures and are gradually destroyed, they become voids in painting.
«Here’s the house.» Halst, oil 50 cm x 70 cm
In the work of «The House here» linked to the sculpture of the swallow and the abandoned house, the landscape is carefully written: mountains, trees, light, space is sustainable and material. The house itself is missing — it’s a white form that has no image.
Fragments
This contrast is fundamental to me. The world continues to exist, and it remains dense and sophisticated, as if it were not susceptible to destruction. What wasn’t particularly valuable to me can easily be replaced by something familiar and understandable, and I don’t care how much it fits the reality. But the objects that were really important to me can’t be remembered in the old way — they’re turning into white holes inside this world.
The interior. Halst, oil 120 cm x 80 cm
Fragments
Fragments
Within these forms are barely white and white; you can see them only when you look closely at them. Far away, it’s just a void. Thus, the loss is more acute than the presence: what was significant is particularly evident at the moment of disappearance.
Fragments
Link: sculptures and paintings
