FORMS: Sculpture remains the core foundation of my creativity, the discipline through which I first learned to articulate my artistic vision. My practice has evolved from these sculptural origins, tracing a journey from intimate ceramic narratives to large-scale participatory installations.
Clay itself holds a profound fascination for me through its paradoxical nature: supremely fragile in the moment of creation, yet capable of surviving millennia. This material can endure extreme conditions that would destroy most human artifacts, remaining intact through floods, fire, burial, and even nuclear radiation. It is precisely through ceramic vessels that we define and understand prehistoric cultures, making clay a direct link to humanity's earliest creative expressions.
Beginning with figurative sculptures rooted in mythological and autobiographical content, my work has progressively expanded to question traditional boundaries between artist, audience, and artwork. Yet this ancient material continues to inform my practice, its durability and cultural significance echoing through even my most ephemeral participatory works.
VISIONS: A pivotal shift occurred when I recognized that arranging sculptures for elaborate photographic presentations was itself a profound creative act that brought unexpected joy. This revelation redirected my focus toward orchestrating open-air tableaux photographed from elevated perspectives, where human subjects become both performers and sculptural elements within carefully constructed symbolic environments. This methodology transforms the photographic frame into a stage, collapsing temporal and spatial dimensions into singular, densely layered compositions. This approach has evolved into what I've termed "one-shot theatre," a practice now gaining international recognition.
ACTIONS: This experience empowered me to respond actively during the pandemic's assault on performing arts. My latest projects, termed "immersive visualizations," are large-scale interventions engaging dozens of collaborators, transforming public landscapes into sites of spontaneous creative agency. Emerging from lockdown's restrictions on live performance, I developed these participatory environments as direct responses to the cultural sector's forced isolation. By relinquishing artistic control, I orchestrate conditions for emergence, where meaning is collectively generated rather than individually imposed.
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