Vladimir Potapov

Sculptor Vadim Kirillov in his atelier

...T

he decorative, almost weightless plastic of his works is balancing on the verge of transparent graphics. A sculpture, traditionally heavy and voluminous, appears airy and light, organically fitting in the space of the surrounding modern world. That is the way art experts describe creative works of Vadim Kirillov, probably one of the most interesting young artists in the Russian capital.
He was born in 1967 in Moscow. Graduated from the Moscow arts school and, then, went on getting his education in the studio of the famous Soviet sculptor L. Kerbel at the sculpture department of the Surikov Moscow Arts Academic Institute.
Vadim likes to cite one of Kerbel’s favorite maxims: "If you cannot be totally dedicated to sculpture, forget it".

"Comedians above the Town" bronze, wood

The disciple did not fail his master. Kirillov’s diploma work was highly praised by the examining commission and sent to the exhibition of young European artists in Paris (UNESCO). Then, there was a three-year internship with studios of the Russian Academy of Arts. The well-earned result of the internship was a bas-relief of Roman Ryazansky on the southern facade wall of the restored Temple of Christ the Savior in Moscow.
"Traditionally, sculpture is a component of architecture. We perceive it as a volume and a form existing in space", reasons Kirillov. "I tried to make the space, that is the air that surrounds compositions, an active component of my works. The idea is based on the principle of a usual grate. A human eye can perceive the bars forming the grate itself and empty space between them. In both cases we see one and the same. And it is only natural that the space can be active and bear the same visual load as the volume".
Vadim’s creative ideas are in demand. He authored a monument erected in 1999 in the city of Kashira to mark the 200th birthday of the great national poet Alexander Pushkin. Kirillov’s works that impress the public include the high relief of Dr. France Preseren, a Slovenian poet and the author of the national anthem, which was installed at the embassy of Slovenia in Moscow; sculptured violins for the municipality of Monte Carlo.

"Don Juan" bronze, stone

When the Russian Judo Federation decided to hold the International Russian President’s Cup Tournament (as it is well known, Vladimir Putin is a master at this sport), they entrusted Vadim Kirillov with creating the Cup. The bronze sculptural composition weighing over 40 kilograms portrays the fight of two judo wrestlers.
The sculptor’s plastic of fine bronze details is of particular interest. Kirillov’s works, unusual by plot and absolutely original, attract by the decorative elegance of each and every detail. The imagery of compositions is built on the interplay of the eternal and the particular, on the sharpness and acuity of the emotional state.
Why did the artist choose the symbiosis of sculpture, graphics and painting as his style? What effect is he striving for? What ideas are inspiring him? What traditions is he relying on? Vadim does not make secret of the fact that the European arts and, above all, the Gothic art were the source of his inspiration.

"Astrologer" bronze, stone

"The Gothic art was the first to canonize light in works of architecture, painting and sculpture", he says." And this, for example, gave birth to the art of vitrics, that is, ornamental compositions of stained glass. After analyzing all this I tried to recreate this balance of space and form in my works. As a result, my first sculptures "King’s hunter", "The Winner. Saint George" and "Eve. The talk" were created", explains Vadim.
"The next attempt was to find my own plastic language, my own technique, which could convey the essence of this or that work as much as possible", he continues.
The artist used a new technique in his latest works "The Matador", "The Stargazer" and "Don Juan". Here is how he describes the process himself: "I do many preparatory drawings of a real-life size. Then, I make pattern moulds. I cast layers of wax and cut out sculpture fragments after these models. I get two separate parts from a sheet plane. It all reminds of both the origami technique and the Oriental galanty show. The next step is the bronze casting and assembling".
This way there emerges a breathtaking balancing on the verge of motionlessness and flight, rest and movement. To Vadim Kirillov any new work is an assertion of his own nature and temperament. His is a mature artistic individuality, is it not?