The sculptural works of Taras Yavir (Donetsk-Kyiv).

 

I would call my works surreal objects. The base material is clay (of any kind). I use it to express ideas in three-dimensional objects as well as to «connect» what I sculpt with household items or found stuff.

 

 

I am interested in all materials related to some kind of incompleteness, archaicness. Everything that looks old, not completed, ugly, imperfect, and does not try to «sell» itself make me feel empathy.

 

 

The size of the works is usually small. For example, the usage of toothbrushes in the object determines its size. They no longer have their original functionality, but instead, they form the basis of the work. The two brushes connected with two heads made of clay are no longer that items that we know and use. The object obtains a terrible sense of intimacy (or even common doom). The material itself is also important here. So to say the «corporeal self of clay».

 

 

Concerning other works — they are all small in size also because it is more convenient for me.

 

 

The elements of old works can become a new work or complement something new. And the same format allows them to combine with each other.

 

 

Like in this work with palm, sometimes I just need to make an exact copy.

 

 

In general, it’s like sketches in a notebook. When I have an idea, I try to transform it into a three-dimensional object. Or sometimes the idea appears during the work. If the large format is not an essential and integral part of it, then I do not see any sense in doing something big.

 

 

I would like to avoid any messages and «big words» in my works. A small format is better in this case.

 

 

I use text in objects to so some kind of «doubling» of the space. The physical space of the object (including the physical space of the text) interacts with the space of the quote. Altogether they become the parts of a unified work (regardless of the presence or absence of meaning in the quote).

 

 

 

Sometimes I use media photos. I add narratives, emphasizing the fragility of the works and their temporary nature. In my case, images are an excellent pseudo-document for surreal objects.

It is better to reassemble a completed work into something new. Infinity is more exciting, while completeness is boring. However, it all depends on the concept. I allow many works to «stay alive». (Until there is enough place).

 

Taras Yavir