The multi-dimensional symbolic imagery determines the sculptural language – greatly generalized, lapidary, and geometrised. The mirror-like symmetry of the composition, featuring two figures standing with their backs tightly pressed against each other and protected with head-high shields, is austere and marked by nearly mathematical precision. The plain colouring – shining black, with dim light reflexes – re-enforces the stiffness of the conic silhouette. Pale highlights such as the clay colour of the ovals of barely traced faces, far from softening the image, reinforce its impersonality. In spite of the abstract character of the colour scheme and geometrical forms, the image is easily enough recognizable: black is the official colour of the special police force (the “OMON” in Russian), and the special policemens’ armour, hiding their individuality, leaves them only one form of existence – within the apparatus serving the state. In this context the individual, reduced to a cog in a well-adjusted machine, becomes a soulless weapon intended for suppression and, if necessary, destruction of their target, a pawn in someone else’s game. The minor format of the sculpture allows for a modicum of irony, but if the format were to be changed to monumental, then such dehumanized imagery would acquire a menacing feel.


Brief annotations to the image

WEAPONS are arms and objects which, due to their technical design, are intended for hitting live and other targets and/or sending signals. In a broad sense, weapons can be a non-object-specific form of activity, a human continuum of sorts, including a system of agencies and services intended for control, suppression, and destruction.