Several research topics converged in this work. Vertical, shell, inner and outer. The motive itself is taken from nature and resembles some kind of twisted sheet. Some people even think that it is a real natural artifact (that pleases).
However, I cannot but tell about the hidden meanings that are present in this work. Well, first of all, the very idea of a vertical. The presence of a vertical in a living space is a kind of mental and emotional tuning fork that denotes the vector of thought processes, feelings and events. That appears to be an indicator of inner striving.
Further, we see that this is not just a dynamic form, but at the same time a shell that hides and reveals the inner content. Hence the name "Papirus" refers simultaneously to the image of a sprout and to some ancient sacred scrolls. We do not know what is hidden there, so everyone has the right to endow it with his own meaning.
Sergey Sobolev (SoboS) is an artist, sculptor, meta-designer, architect, art theorist, curator.
Was born in Moscow in 1975.
Graduated from the Moscow Academic Art Lyceum and Surikov Moscow Academic Art Institute.
Head of the Center for Contemporary Sculpture and Design METAOBEKT.
Art director of studio Ars form
Also, he is the head and creative director of the Neplosko design studio, the MOSSart studio and the Neoclassic project.
Works in the field of contemporary sculpture, art design and sculptural architecture.
Participant and laureate of numerous competitions in the field of sculpture, design, and architecture.
Participant of more than 50 thematic and personal exhibition projects.
Member of the Moscow Artists' Union, the Moscow Sculptors' Association, and the Moscow Designers' Union.
«Sergey Sobolev understands form as the border of different spaces (art and nature as well), combining different ways of structuring space in one thing. Material, surface, volume, representation and our perception are built into one row, enter into an equal dialogue. A thing appears as a metaphor for different meanings, in a laconic and pure form, freed from unnecessary details, from the narrative and mythology introduced into it. Revealing in the audience's perception, his works show different aspects of sculpture as such, in fact sculpturality.
Sobolev methodically explores these aspects. He dissects our perception of scale by presenting a scalable model of the sculpture - and a life-size fragment of it.
He shows the conventionality of the perception of form in the relationship between sculpture and light - and saturates these relationships with complex drama. We are convinced of the original tactility of the sculpture and the autonomy of our representation of the form. Invisible, hidden from the eyes, the sculpture returns to us the space of the antique reception with its tactile vision through the tactile representation of the thing. He creates sculpture as a form of adjacent spaces - sculpture from streams of light just like from natural materials, the neighborhood of spaces, understood as a surface, is endowed with the autonomy of texture and color.»
- Alexander Evangeli (curator, art critic, contemporary art theorist)