«If you cannot be totally dedicated to sculpture, forget it».
«Traditionally, sculpture is a component of architecture. We perceive it as a volume and a form existing in space”, reasons Vadim. «I tried to make the space, that is the air that surrounds, 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 thet the space can be active and bear the same visual load as the volumee».
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 traditions is he relying on?
Vadim does not make secret of the fact thet the European arts and, above all, the Gothic art were the source of his inspiration.
«The Gothic art was the first to canonize light in works of architecture, painting and sculpture», he says.
And thes, for example,gave berth to the art of vetrecs, that is, ornamental compositions of stained glass. After analyzing all this tried to recreate this balance of space and form in my works .As a result, my first sculptures «King’s hanter», «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 ssculpture fragments after these models. Iget 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 motion-lessness and fight, rest and movement. To Vadim Kirillov any new vork is an assertion of his own nature and temperament. His is a mature artistic individuality, is it not?
