23.03.2023
Vilgeny Melnikov
Suspended is not the most comfortable position in the game.
Vilgeny Melnikov is a contemporary Russian sculptor. For 10 years Melnikov searched for his style in the field of forming experimental objects. He experimented with methods of shaping and working of form with space, until he founded his own technique - inflating metal objects (Hydroforming). With this technique, he can control 85-90% of the form, while 10-15% are formed by themselves according to the natural and mechanical laws of the residual deformations of the yield strength of metal. In addition, this technique allows him to create works of art of very large size and in an infinite direction of shapes.
A MANIFESTO FOR A CHANGE OF TRADITION
Suspense is not the most comfortable position in the game. Every change of wind or weather as such affects a new experience of the "song" of stability.
"It's much more comfortable to hang steady," she sings.
"Where it's more comfortable to identify with - that's what" - that's what it's with.
And if fear creeps up quite close, what then?
And all the while the state is still suspended, and what is happening around only rocks this cocoon, woven from 1000 synonyms: anxiety, apprehension, confusion, longing and confusion.
And sometimes: joy, joy, warmth. But that's all until the next gust of wind.
Over time, the "cocoon" takes on a beautiful, whimsical shape, color, tactile sensation, and coziness.
At the same time it continues to hang and wait for something.
Noticing this pattern - it's time to change the rules of the game, to change the tradition.
Gustav Mahler wrote: "Tradition is above all the transmission of fire, not the worship of ashes.
If we shift our attention from adding new layers of "defense against the outside" to moving to meet, so to speak, the wind and fear, we can observe how the position in play begins to transform.
The direction of movement is determined, the fulcrums are always there. They are in the most prominent place.
For example, this is the form that one culture has been imposing on another for, say, 70 years.
By 1,000 to 1,000 repetitions of an almost perfect, reference image.
This form is indeed close to perfect, only it is not at all necessary to continue to admire it.
It is enough to start playing with it by its own rules: deforming its structure, revealing hidden facets, questioning its untouchability.
The tradition of playing with a stable image gives a free runway.
And a headwind (upwind, in thermodynamics) is what's needed to gain altitude and fly steadily.
