The first thing that comes to mind when looking at the Endless Movement exhibits is the question of where the authors of the collection got their ideas from. After hearing the words "what prompted you to the idea of the Endless Movement collection?", designer Valery Kuznetsov says: "Last Wednesday in Dubai, we gave 14 interviews for journalists of design publications in Asia, Britain, the USA and European countries during the day. And for some reason, all of them first of all asked the question about what inspires my colleague and me. If you learn to observe nature, you will notice that even small things that are considered ordinary deserve attention. The drops are falling beautifully, the wind is blowing... Another source of inspiration is the paintings of artists of the past. In Rembrandt, light shows beautifully, and we forced Bosch's creatures to move... This is how ERNST and THRINAX, for example, appeared."
ERNST. Image from smithwinken.com
Oleksandr Chikurov adds: the images of Endless Movement sculptures are also a compilation of his inner world and everything that shaped this world: music, architecture, technology.
THRINAX. Image from smithwinken.com
"People whose inner worlds are in tune with mine immediately feel it, therefore, when they see my sculptures, they ask objective questions, for example: how is it possible to combine so many, at first glance, incompatible components and images in one object? Some simply say that it is beautiful, but I don't really like to hear this compliment, because for me "beautiful" is not exactly what I would like to hear about our creativity. It's the same as saying to a portraitist, "it turned out similar," laughs Oleksandr Chikurov.
Valery Kuznetsov: "Rembrandt shows light beautifully, and we forced Bosch's creatures to move... This is how ERNST and THRINAX appeared, for example"
Valery Kuznetsov and Oleksandr Chikurov — Smith&Winken. Image courtesy of smithwinken.com
Secrets of the artistic stop effect
The result of the collaboration of the inner worlds of the two designers became sculptures that you can look at for hours, because they are literally mesmerizing. When asked how the authors managed to achieve this effect, Kuznetsov answers: he and his colleague wanted to reveal the other side of modern art, namely, to present exclusively positive concepts and messages. The main tool for creating "good magic" was a harmonious combination of light, movement and rhythm, and the secret ingredient was a modernist technique that can be tentatively called "everything inside out": instead of hiding the internal knots and mechanisms of the sculptures, the masters put them on display.
"The whole thing is precisely the transformation of nodes in the process of movement. For example, when the HOVER is in a static position, you see a thin, graceful shape, but when unfolded, it becomes voluminous and full of color. TESSEN works in exactly the same way - in the process of movement, the line turns into a living being. This is the subtle principle - "something out of nothing" - that we wanted to convey to the audience. By the way, when people look at the exhibits of "Smit&Winken" they often have an association with the movement of a clock mechanism, but I do not agree with this. In my opinion, our sculptures are more like living organisms, maybe even alien, fantastic ones," says Valery Kuznetsov.
HOVER. Image from smithwinken.com
TESSEN. Image from smithwinken.com
GEMINI. Image from smithwinken.com
Another secret of "Smith&Winken" magic is the feeling of movement in statics. This is achieved, firstly, due to the fact that almost all the details of the sculptures are similar to objects associated with movement, such as oriental opahalas, fans or stretched cables, and secondly, due to the fact that almost all of them are or are constantly in move, or seem frozen in it. For example, BISHOP, whose "head" seems to be trying to fly off. "The ropes that hold the head of the "Bishop" (bishop translated from English - "bishop". — Note ed.), seem strained, so one gets the impression that they are about to be removed and that part of the sculpture, which resembles an airship, will take off," adds Kuznetsov.
Static-dynamic harmony is supported by its opposite technique — contrast, namely, the contrast of textures. For example, the delicate "wings" of SKIPPER are shaded by a metal detail. "All the components of our sculptures perform a dual role: constructive and aesthetic," Oleksandr says.
SKIPPER. Image from smithwinken.com
Taken together, all these techniques have such an effect on the audience that it begins to seem to them that in fact they are not in front of sculptures, but living beings with their own aura and energy. And this energy goes out and is transmitted to the audience. Synergy, right? One energy turns into another," says Kuznetsov.
BISHOP. Image from smithwinken.com
Oleksandr Chikurov adds: it's not just about energy saturation. Another thing is that the sculptures of "Smit&Winken" give people who see them a feeling of flight and wingedness. "Flight is something that mankind has always sought: from the time when the ancient Greek myth about Icarus appeared, to the middle of the 1962th century, when mankind first set foot on the moon... By the way, American President John Kennedy said in XNUMX, that we will fly to another planet not because it is simple, but because it is very, very difficult... In conclusion, I will say: without a dream, this result would not have happened. People, take your time to live. Take your time and enjoy every moment of your life. And be sure to dream," advises the designer.
DODO. Image from smithwinken.com
Valery Kuznetsov: "Personally, I perceive our creations as something that can "speak" with people as equals"
Oriental ingredient
The wings of Endless Movement have an oriental origin, because the last secret ingredient added during the creation of the collection is the motifs of the countries of the East. Chikurov and Kuznetsov borrowed both forms and textures from the Eastern tradition: in many exhibits of the collection, pleats are used, consonant with one of the most recognizable symbols of the East - fans. "In general, motifs from various regions of the East are presented in our works. These are mostly fans characteristic of the tradition of Japan and China. However, in the images of APPOLLO 18, BISHOP, THRINAX there are sunny motifs of the nature and culture of the Middle East - the sun and white fabrics," said Kuznetsov.
APPOLLO 18. Image from smithwinken.com
Oleksandr Chikurov: "We are not carrying out a revolution - neither artistic nor technical. Instead, we show the obvious from a non-obvious angle. Looking at the same object from a different angle, in a different state and in a different mood, people see different things."
The designer assures: while working on the collection, he and his partner did not yet know whether their sculptures would be exhibited in the countries of the East. "In the process of work, we did not even think about the fact that one wonderful day our works will become a kind of compliment to Singapore. However, if it has already turned out that way, why not? By the way, the idea of fans would also be liked in Japan, there are museums there that may be interested in the collection," Kuznetsov shares his plans.
Magic that appears out of nowhere
During the conversation about Eastern motifs, movement, statics, light and other components of the stop effect, Oleksandr Chikurov emphasizes that the external component is important, but the main secret lies in the ideological potential of the sculptures. According to the designer, watching the "Smit&Winken" exhibits, the viewer sees something new every time.
Valery Kuznetsov: "In the process of contemplation, there is usually a very active contact between the audience and the sculptures. If you suddenly want to mentally talk to one of them, feel free to do so. Believe me, there is nothing unusual in the fact that art will "speak back"
"It's not about the details, but about the images that arise in a person's head. The stopping effect, that is, the fact that the sculptures literally stop people who were just walking by, is not achieved by innovation - not at all. We are not carrying out a revolution - neither artistic nor architectural. Instead, we show the obvious from a non-obvious angle. Looking at the same object in different states and in different moods, people see different things. Some have direct associations: butterflies, birds, musical instruments, and some follow the path of figurative associations, so they begin to remember mysterious worlds and creatures that they once dreamed about and read about in books. Everyone sees his own, close to him in spirit."
According to Oleksandr Chikurov, this effect contributes to the fact that people stop and think about time, about the eternal place of man on Earth. "A person is constantly in a hurry in absolutely everyday and everyday matters, which, as a rule, are repeated from day to day, or even for years. How wonderful it would be if our works would help her to realize that there are things and phenomena in the world that deserve more attention than endless everyday worries or, on the contrary, the pursuit of fleeting desires," he says.
KABUKI. Image from smithwinken.com
Visitors who will resonate with the sculptures will not only gain insight, but also the opportunity to communicate with the works of art. Continuing the theme of the influence of art on the viewer, Kuznetsov admits that he perceives the creations of "Smit&Winken" as living beings, human-sized and able to literally communicate with him. "Personally, I perceive our creations as something capable of 'talking' to people as equals," Kuznetsov assures.
Oleksandr Chikurov: "I have a clear and very strict, I would even say, black and white scale of quality: like it or not like it."
903. Image from smithwinken.com
"Interior kitchen" of the collection
Every story of artistic enchantment has its backstage, and Endless Movement is no exception. In response to a request to reveal the secrets of the "inner kitchen" and explain how sculptures are born, the masters say: the first stage is the transfer of ideas to paper, the second is direct prototyping and engineering, and the third is manufacturing. "At first, everything happens based on intuition and feelings: first, the images are born in my head, and then they take a material form. However, not everything is always easy, because while you are thinking - you have one goal in mind, when you start drawing - something else comes out, but when you start to realize all this in models, science will definitely have its say. And you will not deceive her. And there is only one way to agree with it - to study it every day... I have a clear and very strict, I would even say, black and white scale of quality: like it or not like it," says Oleksandr Chikurov.
And he adds: "I will not say that the number of failed sculptures is equal to the number of successful ones, but they still exist. My creative credo is not to be afraid of mistakes and be glad that I have them, because mistakes are experience. They must be corrected until they become advantages. After all, each time you make fewer and fewer mistakes, so your head is freed from the fear of repeating them, and this gives a feeling of inner freedom when you can breathe easily and well.
Valery Kuznetsov: "We need to hurry, because the future is very close - already close. Every moment you feel that the world is shaking very much under your feet, and you are in a hurry to live. This is especially acutely felt in Ukrainei... »
SPERO. Image from smithwinken.com
After discussing the mistakes, we recall the victories, and the designers agree among themselves that perfection is unattainable. Oleksandr Chikurov says that it is impossible to create a perfect sculpture. "Such an object has not yet been created and probably will never be created. And this applies not only to our creativity. Salvador Dali said: do not be afraid of perfection, because you will never achieve it. I don't expect awards, because the main award for me is victory over myself. The work allows me to open up and fight self-doubt, and my personal result is automatically broadcast to the audience, and their feedback inspires and inspires me to fight further. The circle is closing," concludes the designer.
If, according to the artists, perfection has no limits, then art has them, and they are quite clear: the number of Endless Movement sculptures under one name is limited to only 12 copies. The designers explain their decision to "put an end" to several reasons. The first of them is that the objects of the collection are quite difficult to manufacture. "Currently, we regularly receive orders from both museums and private collectors. However, we immediately left a message that we are interested in considering an offer for a certain number of copies. And we chose the number 12 for a reason. We didn't invent the story about the magic of a dozen," Valery Kuznetsov smiles.
FLIPPER. Image from smithwinken.com
Oleksandr Chikurov adds: the decision about the dot is not only a creative, but also a commercial calculation. The designers approved it based on consultations with partners and colleagues. "You have to be able to stop. After all, when we reach the planned limit, we can continue to develop in something else," he says.
Valery Kuznetsov: "All of us now understand that every second we can literally disappear from our planet. And we rush to work also because our kinetic sculptures allow us to read our internal code. Ukrainian code. In our works, we want to show not suffering and pain, but love for life and freedom."
When asked whether the dot will apply only to a specific collection, or whether it will also be a dot in the collaboration between Kuznetsov and Chikurov — Smith and Vinken, Oleksandr laughs: "There are no dots on the horizon yet. We took a vow of brotherhood, so we will work."
Artists already have plans for the next collection. "Endless Movement already has enough sculptures, and each of them has its own story and mechanics, its own heart and appearance. That means it's time to work on something new, and yes, we're already thinking about a name for the new collection. What will it be? For now, I can only say that the two main components of the future concept will remain unchanged - light and movement. If we talk about large-scale goals, then I will start with the fact that design is limitless and primary - it is the basis. And knowledge and experience, feelings, emotions help us create objects that become art," says Kuznetsov.
CHRISTOPHER. Image from smithwinken.com
Chikurov immediately picks up the topic of the future: "A nightmare is brewing, but you have to do your job, and also believe and help. You can't give up! Work gives strength. Creativity gives strength. And while you work, your hands don't go down. In general, for me, faith in victory in work, if we transpose the question to more voluminous moments, is faith in the victory of our country. The work gives a sense of pride in the fact that, if you can put it so pathetically, thanks to our sculptures, the world knows that Ukraine is a proud, dignified, wonderful country."
