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I was born in Minsk, Belarus on September 7, 1982. My family and I moved to Chicago, Illinois on December 1, 1994. We moved again to Colorado Springs, Colorado less than a year later and have been here since. I have appeared on Crafters Coast to Coast, been published in Almagre and Polymer Cafe magazines along with several newspapers, and appeared in the internet publication PlanetLightworker.com. I have participated in a dozen various art shows the most recent of which was held at Optical Reverb Gallery in Colorado Springs. Art is the only practice I have been able to consistantly engage in and will never stop. It is my output synthesized from everything I have experienced in my life.
The reason I am an art student is that every human being is inherently Divine. As such we all exercise creation (manifestation) in order to understand our reality and be capable of transcending it. Our reality consists primarily of geometry (the motion of a number through space) and music (the motion of a number through time). As a human one can learn to understand both. Many spiritual and transcendental teachers emphasize light. Alex Grey's Universal Mind Lattice is an underlying pattern of Divine Light - the mental Universal Consciousness that is the source for everything that there is. The speed of light is the highest achievable frequency. It is that figure where according to Einstein's relativity all reality is condensed into one moment. The Quabala represents an ascent through 33 frequencies. Sacred geometry describes the unfolding of physical reality, is directly related to the Quabala, and is the framework for the meditative discovery of one's light body, the Merkabah. With these ideas in mind I took up the study of symmetry and fractal patterns using the light sensitive material polymer clay. Millefiorigami is the result. I have some personal experience with transcendelia, and this medium and technique is the most effective way I know to represent it. M.C. Escher and Alex Grey (via Grey - Ken Wilber's integral philosophy, TooL, sacred geometry) are my main influences. 'An artist's primary medium is consciousness'(A.Grey), and my primary goals are the expansion and evolution of consciousness. My brother Misha, who is an inspiration to me is a drummer. We have both sides of the space-time coin covered. To be one to contribute to our collective consciousness one should develop to tap into the proper realms. As I do this, I try to point others in the same direction without imposing anything, through my work.
What Is Millefiorigami?
'Sculpture' with extra dimensions. The pieces are 4 dimensional in terms of light. I use a synthetic medium called polymer clay, which comes in many mixable colors including translucent, glow-in-the-dark, and fluorescent(black light reactive). The assortment of light propeties allows the interdimensionality. The pieces contain symbolic, numerical and chaotic information. They are my attempt at creating 'loaded' artwork, something integral, containing intrinsic value.
The patterns are built from individual pieces of clay. I build 'pixels' which are cylinders of clay built from layers which are wrapped around an inner cylindrical core, such that if you cut the cylinder across, the pattern inside resembles a 'target' of concentric rings of color. The cylinders can be 'reduced' by rolling, which makes them longer and thinner. The 'cane' can then be cut into several pieces and arranged into a square, triangle, etc. consisting of pixels. The cane is further reduced keeping it even to preserve the consistency of the pattern. Cut apart further, the shapes can be formed into a 'grid'. I usually shape the grids like a shallow convex curve, a crescent (looking at the cross section which shows the pattern). Several grids are then arranged into a final cane form, usually a prism shaped tirangular cane 4-6 inches tall by 4-6 long with the pattern consistant throughout its length. The cane can be any shape, but triangles and squares are the most common in my work. The big cane is then reduced to anywhere from 1/4 to 3 inches tall. A large razor blade is used to cut 1mm slices from the cane. These slices can be arranged into an infinite number of 2 and 3 dimensional symmetries, which I assemble together into representational sculptures of animals, humanoid faces and plants. Once finished, the pieces are cooked in a conventional (or toaser) oven at 275 degrees for a short time, they harden and I take digital pictures of them in various light settings.
The process is ongoing and resembles the flow of evolution. The cane construction itself flows from simple to complex: pixel(point), grid(linear element), cane(planar element), flat symmetry(plane with embedded numerical values), 3d symmetry(form with both numerical and geometric information), forms assembled together into representational sculptures(creatures from nature constructed from Conscious Light)... The next step is arranging the representational elements into scenes which represent specific Noospheric elements by placing them into an environment together. This is a big leap because at this point every step from the beginning can be deliberately planned, taking all the elements into account to mindfully layer information, maximizing the impact of the intention.
This ongoing project is my personal supplement to Integral Theory, an exersize in becoming a self-aware evolutionary process.
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