Tet91: “Motivation is everyone...”

Hi! Tell as a few words about yourself for a start.


I was born in the city of Sevastopol, in the family of a welder and a tailor. It happened so, that for more than two decades I live in dorms. In the school and preschool years, I was a hooligan. I wasted time in diversified companies. I got real when I was in my third year of Art College. I began to join the circle of artists: I read appropriate literature, made new contacts and projects, visited exhibitions — that’s the way it started in general.

When I graduated, I went to Kiev, to fulfill my longtime dream to become an architect. There I studied at the academy for two years, but by circumstances I had to travel back to the black sea. When I came back home I wondered a lot about my future activity. I realized that there are no perspectives in taking part in paradigms of Sevastopol institutions. Since my protest to the conventional Crimea esthetics that overfill exhibition spaces for a long time. I wanted something more. I wanted a communication with ordinary citizens on the topics of social, cultural and environmental issues that have always bothered me.

Speaking of your relation to art, your ingenious approach to the street activity is very attractive. Unfortunately, there is a little of such ideological and meaningful art. How had you proven yourself creatively for the first time?


My first experience of “public art” took place in summer 2014. I decided to create a series of works on the environmental pollution problem. I chose locations with convergent planes either between ceiling and wall or two walls, etc. As material, I used plastic and wooden crates found near trash container, plastic cells from fruits, lost jeans from one of the city tailor shop, cardboard cells from eggs kindly provided by the sellers. The project turned out to be interesting, from the idea to realization. Each “eco” work has its own in many ways ironic story. I plan to return to environmental problems with different implication: ecology of consumption, relationship, thinking, communication and otherwise.

In the first place, public-art for me is interaction with people, and only then with environment. I consider the city to be a living organism, which has to evolve, not to stagnate.

Sadly, most of so-called contemporary art, including street and galleries, whether is very empty inside or serves beautifully disguised selfish purposes. There is a little of open, understandable and motivating art. What perspectives do you see in the development of direction in which you work?

As perspective for development of my direction, I see a necessity to attract or even to pull the artists from the walls of exhibition spaces to the street, to the real environment — to communicate through the language of art. The art is an organism; it should act in all spheres of humanity. This is a living structure, which influences our feelings and activity. Each work has its time cycle, when it’s active and after its done, it should be replaced with a new work filled with different meanings and energy.


Could you suggest actual and effective methods for artists to exit galleries to the streets?

You can already witness such actions on the banks of our motherland. Festivals, projects, contests… —everything to interest the art community, providing conditions to work and express oneself.

I also consider art education like doing creative tasks in public places as well. The time when you submerge in to a certain environment, actual events of today's world, history of the place or just surroundings, pointing out the work with materials acquired from areas nearby. In addition, the city’s infrastructure works – fences, posts, bus stops, roads and more.

Could you, please, highlight some associates or idols that inspire you? Could you describe the things and situations — anything that makes you act creatively?

I will begin my answer with gratitude to anyone acting and sweating in the name of prosperity and creativity. These people work on themselves. They are so-called etherlords of different colors and directions, taking their lives as something special and conscious. They inspire with their thoughts and actions. You can admire their persistence, courage and resourcefulness, which encourages you to do your own steps.

I am glad to notice artists that redirected their attention to daily routine and work with it. They experiment with everyday life themes and materials that demonstrate art more freely, thereby inverting the formed scenarios of subjective and artificial perception of the human world. 


OK, so you won’t give us any specific names, are you tending to accept motivating art in general?

I haven’t selected any favorites that I monitor constantly. “Партизанинг” (http://partizaning.org/) online resource inspires me now and from the beginnings of their artistic gestures. I would like to thank them for their work.

Motivation is everyone. Every person directs with his actions and the results of these actions — with his achievements and failures. Therefore, it is necessary to be mindfully open to the life surrounding us. Muse can come to visit you any time; you should not lock yourself in your own (or made by society, to be precise) inside world nor search any truth there. The truth is right in front of your nose, you should just be able to spot it and highlight it a bit.

One of the main points of artist development is finding their own style. Does this concept apply to your creative work? What development perspectives of your own style do you see for yourself?

I guess that it is a bit early to talk about my own style yet, since not much of the time have passed after the realization of my first works. You need more time and effort to form a style. Yes, we all know the business laws — to focus on a single thing and upgrade it to a higher level. However, the truth is I don’t want to trap myself in the limits as I uncover the potential of working with diverse themes and materials more and more. Regarding to realization process of a particular project, I am ready to dedicate a considerable time or a whole life to it, to work hard, to fill any spaces. I hope that my creativity works, because it’s important to be useful in your “anthill”. In my work, I try to activate cognition of a person; I want changes in him and furthermore in the environment.

What do people say when they see your work? Is there anyone among them who started doing his or her own stuff?

Gradually I discover people hooked by my ideas. A man from Murmansk will develop the already mentioned “зёленка” work (zelyonka— brilliant green dye used in Russia as an antiseptic). I confess that, many works are done in order to be spread by caring citizens. I tend to interest people who have an urge to act with the accessibility of my projects.

The standard reaction to my work is usually resentment due to collective conscience and perception made outside by parenting, education, mass media, etc.

Many people question where the ideas come from, what inspires. I’ll tell about my Zen (Zazen) practice based on “here and now” reality space. You should be attentive; you should see treasure in everything whether it’s a conversation with a friend, reading of an interesting book or a walk during sunset.

How broad do you think are the perspectives of your creativity? Did your art ever help you in life? Are you planning to earn your living with it?

I’ve made new friends with a philosophy close to mine less than a year.

Most of the people are open, they are ready to support in difficult times.

I highlight the most successful projects notices by my friends and subscribers: these are “Интервенции рекламы” (“Advertising Intervention”) and “В зелёнке” (“In brilliant green dye”). I plan to develop those.

Of course, you need independence and money support, but what I need most right now is a workshop, since I have planned to work with large objects.


Finally, tell us, please, about collaborations. How much do you think they help to achieve creative potential? Do you have plans for collaborations of your own?

The art-communities potential is definitely higher than the potential of individual artists. The processes of art-groups are much more alive and varied in all creative aspects. Today you can find co-thinkers who are ready to work together. The interaction with structures from diverse subtypes of the art is very important. Therefore, there is a lot of hot and entertaining stuff ahead.

Be happy. Create. Love.

Huge thanks to CODERED for the attention and interest to me and my work.


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