Text about Maxim Piatrul by Olga Arkhipova
Maxim Piatrul is an artist of modern vision of the world outlook for whom creative interpretation and cognition of the world is a provocative game, a dialogue with the spectator. Using allegorical expressive means, the young sculptor transforms an artistical process into creation and development of radically new plastic object, new form. The author aspires to semantic coding of his creations that becomes apparent in bright and original solutions.
The principles of conceptual art in the artistic creation of Maxim Piatrul are transformed into to a specific sculptural form that exists in parallel to the reality, outside of the real world. Actually, his creations are an embodiment of concepts and categories that are a semantic rebus or a riddle for the spectator. His works can be appreciated either as a formal sign, or a surrealistic object, or an artistic symbol.
Maxim Piatrul’s artistic preferences have been established in second half 1990s, but his professional activity as sculptor begins since 2000. Characteristic of his artistical endeavor is a long-time nurture of an image. It may take a considerable number of years before an original model is cast into solid material. It was back in his studies in the art school that he conceived his sculptures such as “Birds” (1994-2007), “The Creation” (1995-2007), and “Elephantus” (1996-2002). These creations have undergone significant change in the long run (both in proportion and details) and after having been cast into metal they acquired their final shape.
It is possible to identify some basic form-building principles in sculptor creations. As far as preferences are concerned, Maxim Piatrul as artist sets himself unusual creative tasks: either embody in plastic form abstract philosophical categories - “Taiji” (2003-2004) “Between” (2004), and “Into” (2005), or individual, subjective perceptions - “The smell of a rain” (2004-2007), “The Milk” (2004-2007)- or to create symbolical embodiments of concrete concepts: “Cellular Communication” (2004-2006), “A man” (2005-2007). But the most important is a plastic search of form and material that would be most appropriate for a theme.
Maxim Piatrul takes an active part in the international sculptural open-airs, symposiums, and competitions. Surprisingly, practically each creation of the sculptor can be presented not only as an easel, but also as a monumental solution. His “Elephantus” (2003, Park of the international sculpture, Fuzhou, China) and “Taiji” (2005, Da Guang, Kunming, China) have already been implemented as objects of urban sculpture. In 2005, in the co-authorship with architect Leonid Levin the sculptor has taken part in creation of a memorial complex “Krasny Bereg” at the site of children’s concentration camp in the Zhlobin District of the Gomel Region.
Maxim Piatrul has found his artistic philosophy and his individual way that enable him to experiment, search and have a feeling of internal freedom in the modern cultural space.
Olga Arkhipova, research worker for Contemporary Belorussian Art Department,
National Art Museum of the Republic of Belarus