The small statue with a mundane narrative seems to have little in common with the tradition of minor forms of sculpture, although such a statement would only be true if we disregard the experience of Russian art of the early 20th century, distinguished not only by new variations on the classic language of sculpture but also by avant-garde experiments (in the work, for example, of Jacques Lipchitz, Alexander Archipenko, Boris Korolev, Natan Altman, Vladimir Tatlin, and Ossip Zadkine). However, the artist, rather than following in footsteps of such radical innovators, tries to reconcile the recognizable corporality of sculpture with the method of transformation of volumes, which is linked to geometrisation, emphatic laconicism, and the conspicuousness of structure. The chosen sculptural language is intended to emblematize the era when the telephone became ubiquitous; this accounts for the antiquated look of the phone set in the composition. However, given the undetailed and neat forms of the objects, there is no indication of the precise time period. Yet, employing tense lines and sharp joints and borders, the artist conveys the emotional voltage – eventless, brought about by the futuristic spirit of the era. The sculpture’s name – “Communication” – is yet another tribute to a historical period keen on internationalism and neologisms. The assemblage of aptly-chosen semantic and sculptural intonations makes the image persuasive.


Brief annotations to the image

COMMUNICATION (latin. communicatio - from communico - I make common,  I connect,  I communicate) is a dialogue, transfer of the information from the person to the person, the specific form of human interaction. Communication can be carried out both during the process of any activity, and by means of specialized speech or other form.