«Голубь мира» The Forgotten Artifact

Images of fashion industry. Modern priestess representing “Cutting” as one of its stages.

"Cutting"

The process of work. Unburned porcelain, 90cm

"OMEN"

"DEPREM"

The monument to M. E. Perkhin in Petrozavodsk, 2018–2022.

Faberge jeweler, author of most of the Imperial Easter Eggs.

"The monument to M. E. Perkhin"

"Proposal" 

Images of fashion industry. Modern priestess representing “Sewing” as one of its stages.

"Sewing"

Images of fashion industry. Modern priestess representing “Measuring” as one of its stages.

"Measuring"

The figure of the fashion icon conveys the strive towards an ideal human body. Unlike the priestesses, whose proportions are derived from couturie sketches, the proportions of the icon are human-like.

  
Throughout history humanity creates icons, and an artist becomes a historiographer of a cult. Today is no exception. The difference is the lightning speed with which one icon replaces another. Fashion and pop culture are forced to create an icon for one season, a kind of a “Spring-Summer Icon”. Fashion is a human creation, but it is staring to re-create a human. Is a human a fashion icon or a victim of a cult?

"ICON" Portrait of the central figure in the sculptural group

St. Christopher is a canonized Christian saint. The image has become established in the

orthodox tradition which takes its roots in the Byzantine Empire. There are Byzantine

images dating back to the 4th – 9th centuries AD which depict St. Christopher as a

dogheaded warrior. Later the image changed only to a negligible extent.

The idea of the work is to depict St. Christopher as a man who existed. It is known that he

lived in the middle of the 3d century during the reign of the Roman emperor Decius, was

captured and later served in the Roman legion. St. Christopher’s conversion to the

Christian faith foreshadowed the move from polytheism to Christianity in Ancient Rome.

St. Christopher rejects the use of physical force, which is represented by the heap of

armor and weapons, in favor of faith. His posture shows the triumph of finding faith. At

the swing of his arms, his sword and dagger bounce off him and fly apart. However,

glorifying one faith inevitably leads to renouncing the other. At war, St. Christopher as

any Roman legionary was protected by the pagan gods whose symbols were traditionally

reproduced on Roman armor and weapons. Thus, by standing on a shield he is trampling

upon the pagan faith he adopted as a Roman legionary.

"St. Christopher"

The work “Tengu” (Japanese: 天狗, “heavenly dog”) 

The topic of “Tengu” is finding wisdom.

The image of tengu is remarkably similar to the image of one Indian god. Spreading to other Eastern cultures, the image of a bird-like human acquired new meanings and interpretations. In Japanese culture it gradually changed from an evil bird with which to scare kids to a patron of sanctuaries. In Japanese culture the existence of forest spirits is accepted as natural. Thus, tengu is depicted as a creature which we can meet in reality. At birth the body of tengu is all covered with feathers. Like birds, tengu live in the treetops. But maturing and acquiring wisdom, tengu lose their feathers and become more human-like. The composition “Tengu” is a scene depicting the loss of the last feather, accompanied with fear and superhuman effort, leading to finding wisdom.

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Pavel Kaltygin

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