World of Geometry and Magic
- yabarinova
- 25 мар. 2014 г.
- 7 мин. чтения
Who: Zolotariov Oleksii
Age: 29
Where: Ukraine
What: Sculptor, co-founder of art-group GAZ
Education: 2013 Residence in YSP; 2003-2010 The National Academy of Fine Arts and Architecture, Sculpture faculty; 1996-2003 Taras Shevchenko State Art School, Sculpture faculty.
Images here
Oleksii Zolotariov is a young sculptor from Ukraine. We first met a few years ago in Kiev. I’ve been closely following his works for the last couple of years. His series of extraordinary pieces attracted my attention immediately. Last weekend we were talking about his future plans and current projects, about what it means to be an young artist in Ukraine.
Oleksii is well known for his abstract sculptures that explore both density and transparency of materials. He uses industrial raw materials like plexiglass, iron, aluminum, and steel. This allows him to expand the complexity of his works as well as moving the sculptures out of galleries and museums and into public spaces. Oleksii shares an interest in creating large works that play with line, flatness, and scale. In 2012, Forbes Magazine Ukraine named Zolotariov one of 10 best Ukrainian sculptors.
Yana B.: What do you think it was, Oleksii that made you want to be an artists?
O.Z.: I became a sculptor in my childhood. I visited all kind of art schools – music, theatre, and dance. However at the age of 12 I chose to be a sculptor and that was my main focus. For all my school and university years I had only one hobby and that was sculpture. Now it is my profession. So I should mention that I can’t do anything else but sculpture. All my life was dedicated to this craft.
Yana B.: What happened after your graduation? Any internship or probably residences abroad?
O.Z.: I took part in the Sculpture Salon in 2010. I presented my diploma there. It was a very useful experience. However the works of that period are more figurative. But you know what is the main problem?? Our ukranian institutes produce us, alumnis, to nowhere! While I was a student I didn’t know at all who might be interested in my art. Nevertheless after participation in Sculpture salon I saw the audience reaction. One small object was sold. So I am satisfied that I got there. May be this is my first milestone in my career. The award at the "Kyiv Sculpture Project" also played an important role for recognition of my art.What were your favorite projects of the recent years? My “Mechanical Orange” was presented in the Yermilov centre (Kharkov) – it is the last project. And 2 other projects: Closed Angle and Chariot of Perestroika at the “Biruchiy” - the International Symposium of Contemporary Art (peninsula Biruchiy, UA). This is an incredibly rewarding experience. My colleagues, Vasiliy Grubliak, and I went there as an art-group GAZ. Probably it is the first time when we have articulated our tandem as an independent art-group. In 2013 I also made one project as a curator. I invited my mother, Irina Fedder, from Berlin and we made a group exhibition with her. The project was called "Tralfamadore" and it was held at the Art Kyiv Contemporary (Art Arsenal). In summer Firtash Foundation presented my work in Saatchi Gallery (UK) within the frame of 'Ukrainian Contemporary Artists' project.
Yana B.: What future milestone have you set for yourself?
O.Z.: I want to develop on the international level, to cooperate with different galleries, to take part in Art Fairs. But now it is difficult for me to understand all mechanisms of the global art market. Ukraine is little art mess, so I am still looking for the right strategy
Yana B.: What mediums do you work in and why?
O.Z.: Metal, bronze, travertine, granite, stone, plastic, stainless steel. I have not worked with wood in sculptures yet. Metal is the most comfortable material – you have an opportunity to do big things not for huge amounts.
Yana B.: Let’s talk about the content, how do you come up with the ideas for your pieces?
O.Z.: Ideas are coming from everywhere. And then my personal feelings are transformed into some form. But now I go to a new plastic language. I do not separate the content from the object, these are inseparable things. An idea comes to my mind, but in the shape of something. I always have my vision and my draft. This is my principle. If a curator/gallerist doesn’t agree, I will not work. My ley point is to reinterpret Avant-garde, especially Ukrainian avant-garde of the 1930s. This movement gave such a strong impulse as well as Ukrainian artists who made an important contribution. I think it’s my job to try to push sculpture forward, to keep it moving and keep it alive.
Yana B.: Do you make a distinction between commercial commisions and what we call the «other thing»?
O.Z.: Yes, sure. I have a production studio «SOM» for commercial stuff. 2 years ago Vasiliy Grubliak and I decided to create a production studio before we were engaged in scenography. SOM is an experimental platform. We try some new materials for new projects. We serve there commercial orders, collaborating with architects; we construct difficult pieces for other artists; we make specific objects for leaving spaces.
Yana B.: To be compelling, does public art need to be about place making? Does it need to be thoroughly integrated into its architectural and community context?
O.Z.: Through art in public space many artists have turned their attention toward social/political themes and therefore given art a purpose beside or even outside of its aesthetic function. Public art may draw attention to present matters of public interest, transporting the importance of the public space to the people, make them act and make them participate in debates on public themes
Yana B.: Сan you, please, tell about your current and upcoming projects?
O.Z.: We have many orders in SOM production studio, we have many ideas as an art-group GAZ, as well I am an independent entity, with my own vector. I have a lot of drafts, sketches. I hope all of them will be implemented soon. Time is a filter. Some of my projects can be just drafts for a couple of years. Then I go back to them. For instance, “Mechanical orange” came to my mind more then 1 year ago. In the nearest future I intend to make two more versions of “Mechanical orange”. And two projects related to the topic “communication”. I work in different sizes. Each size is another way of perception. Large-scale works are the public art projects. Medium size is more garden sculptures. Most of the objects have a little prototype that can may be transported and exhibited. The smallest one – 50x50cm, middle size – 150x150, and the biggest sculpture is 5mx5m.
Yana B.: What about prices….?
O.Z.: Prices vary accordingly from 5 000 to 25 000 euros. I have a lot of ideas, will see what is going to be implemented. By now I’m doing everything at my own expenses both production, exhibition sometimes and delivery. Nobody invests in young artists, institutions do not support (I mean kind of scholarships). So I'm trying to adjust to the realities.
Yana B.: What is your relationship whith other young Ukranian artists?
O.Z.: In the future I would like to cooperate with Apl315. His great artist and an emitonal workaholic, Nazar Bilyk, Artem Volokitin, Mykola Ridniy. Very strong artists with clear intentions.
Yana B.: How would you describe the current situation of the art market in Ukraine?
O.Z: Maybe the situation is absent, especially now. There are some stakeholders, but they can’t serve all the needs of Ukrainian artists. I think the last months have catalyzed new processes, positive processes. And in the nearest future we will see the results of these changes. The whole world is looking at us. We must react quickly.
Yana B.: How did you spend all these months? Did you take part in some actions? Have you been standing on Maidan?
O.Z.: I was involved in all these actions. I tried to support my friends and I empathize to everything happening. I am a Ukrainian artist. Soon all the borders will be open. In my view, it is important for an to be exactly where he was born. Motherland gives the energy that some other space will never give. You can travel around but you always get back to your place. I'm not a cosmopolitan artisit. I want to represent Ukraine - it is my position.
Yana B.: What would be the ideal sculptor’s studio?
O.Z: A huge hangar of 200 meters, with a huge square in front of him with all the necessary materials and with small spaces where you can make sketches.
Yana B.: Your family plays an integral role in your life. Tell us more about your family.
O.Z.: My mother is a painter. She lives in Berlin. My stepfather, Oleksand Dyachenko, is a sculptor and he influenced my aesthetics quite strongly. He is my teacher. I grew up in artistic family. So in general they raised a sense of color and form in me.
Yana B.: I see some parallels between GAZ and the art group Recycle. Do you know them?
O.Z.: No, I don't.
Yana B.: Well, look. Positive example. I like these guys, they are talented artists from Krasnodar. By the way, recently I saw them at the Art14 art fair in London.
Yana B.: And the last question about your initiative “Museum of Totalitarian Sculptures”.
O.Z.: This museum is needed in terms of a civilized solution to the question. We can lose a lot of monuments. The first impuls to this idea was the fall of the monument to Lenin in Kiev ("Leninopad" or "Falling Lenins" across the country.) We have to preserve the monuments just like the part of the history. And Lenin must be killed in you, but statues of the communist leader might be moved to the museum.
Oleksii established himself as a rising sculptor in Ukraine with rough-hewn and innovative works. He follows the language of David Smith, Anthony Caro and Louise Nevelson, discovering a path to abstraction in sculpture. This is a bright example where the form and content harmoniously embodied in the completed object. Oleksii Zolotariov has his own aesthetics, which will be quite soon in demand outside of Ukraine. The only question is, who is the first will consider this enormous potential. Personally, I have already done.
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