Russian born and trained as an architect, Alexey Klimov seeks for metaphors of other kind and embraces chaos as the operative force in nature. The sculptor brings to his neo- constructivist works an urban sensibility rooted in the tradition of Malevich and Tatlin but thoroughly steeped in the American preoccupation with invention and reinvention, of recycling and preserving old artifacts in new contexts.
His vision--asserting the dynamics of sculptural space--embodies the underlying process of metamorphosis itself. His sculptures are expositions of time’s degradation of the built landscape, where the material fabrications of man and the forces of nature intersect--the point of deterioration. They are metaphors of time, microcosmic arenas in which the drama of arrrested time is played out for our contemplation.
It is hard today to look at approximations of exposed steel beams, at sheet metal twisted or contorted, and not to be reminded of the haunting carcass of the World Trade Center. And yet Klimov’s sculptures have no tragedy or pity attached to them, rather they sing out in praise of the built world as it coexists side by sidewith nature: it ages, as it takes on patina-- even as it crumbles, as some Greek ruins do, their marble columns scoured of the gilding which to modern eyes might render them hideous. Klimov’s art hints at some troubling spiritual power that lies readily at hand--the artist’s way of celebrating life over darkness.
David Cleveland Novelist and art writer for ArtNews and Art in America