VOLNA: Artists’ Statement
Tasks. The main goal VOLNA pursues when creating new works is to develop a context-dependent environment that provokes an emotional dialogue with the viewer. The specific site a work is being designed for is of key importance in its formation, and the ultimate ideal would be creating a piece that merges completely with the space it inhabits, filling it with new content and functions. Interaction with the viewer primarily takes place in a passive and natural way — in other words, there is no formal interface, although the very fact of having an observer present initiates interaction.
Method. As a starting point, we form an image and physically visualize it in a highly abstract way. The scale of a work relates directly to the image itself and the theme behind it. In large works, we operate with more general concepts, while with smaller pieces we focus on something more specific. This approach is based on the close connection between an object and its context, taking in account the specifics of how a viewer will perceive it. We operate with just one bedrock principle here: that a work’s general artistic message should be broadcast in the minimum possible interaction time allowed by any given space. Unlike more sequential art forms (e.g. music, cinema), the messages in our works do not have any formal beginning or ending and can be apprehended from any given moment and, for pieces with multiple components, in any order. On the other hand, the physical variability of our works distinguishes them from sculpture and painting. In a major sense, this is what creates the preconditions behind our use of abstract forms and succinct visual formulations.
The Form. The more complex a work’s form, the smaller its size. This is dictated by both practical and purely artistic considerations. Larger objects require extended interaction with the viewer, which, together with the theme of the work, necessitates establishing a more universal means for a longer dialogue. In a certain sense, this transforms an art piece into an artistic instrument that itself creates art. In such cases, we give preference to simple forms and structures that are more universal in nature. The ideal here would be an intangible four-dimensional display occupying all possible space. Small works, on the other hand, tend to be more visually independent and sculpture-like. The ideal informing smaller works is the same, but their size limitations demand a more formalist approach. For works of all sizes, it is fair to say that the methods we employ in their formal language arise from the physical and technical limitations of the materials and technology we are working with. This principle is based on the desire to create voluminous works within the limitations of the material world.
Problematics. The choice of topics is infinitely wide, and they exist outside of any hierarchy. Unlike many creative groups that consistently develop on one theme in their work, for VOLNA the initial concept is merely a starting point for our creative approach within a given context, allowing us to remain more flexible and responsive to changes in the surrounding environment. The practice of collective creativity allows us to form a more objective view of the topic we are working on and to avoid excesses of individual reflection. This is also greatly facilitated by the diverse experience of every participant taking part in our creations. It does not make sense to formalize and generalize the spectrum of topics that we work on.
Medium. The interaction between light and context. Light is the main tool we use to facilitate non-verbal interaction with viewers. Light helps us achieve a necessary level of abstraction since it is more efficient than any other material for constructing dynamic two- and three-dimensional structures. We understand different types of light as different artistic materials (gouache, tempera), and the main forms of light (point, cone, plane) are used as elements in a three-dimensional composition. In creative approach, we use material reflectors in combination with light. Within a given work, we minimize our use of different kinds of light sources — as well as reflectors — in order to maintain compositional purity.
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Technology. Despite the technological nature of our works, we give preference to using the most appropriate material in every case. While we certainly are interested in technological innovations that could open up new possibilities, the use of new technologies in and of itself is not a goal for us.
Production. The process of production, the very act of doing and labor itself culminate in our final understanding of each specific work, occupying the nexus between matter and creative will. Unlike technology and the concept of a work — a means and an impulse respectively — the production process itself is an act of creativity to which the meaning and often form of the final work are ultimately subordinate. However, this process is never explicitly represented or presented along with the work. The final exposition is maximally devoid of traces of the production process and wiped of any information about it. This experience is shared only by members of the group and remains invisible to the viewer.
Exhibition Access Webpage: https://volna-media.com/keep-yourself-clean
Exhibition dates: June 10 — July 20, 2020
Visiting the virtual exhibition is free and does not require registration, inputting personal data or installing any software.
