When we first saw Photosculpture works of Lila Serezhkina, we were blown away by the haunting beauty and exquisite workmanship that went into each image. She created this new art form by making porcelain face masks of her models, then juxtaposing the two and photographing them. She doesn’t just stand one next to the other. That is, she doesn’t just randomly have the model stand up and hold the lookalike fine- featured face. Lila marshals all of her forces and brings them together as if they are building blocks of some grand design made to evoke the maximum emotional response from the viewing audience.
Lila’s photographs are incredibly beautiful and they are not only manipulated by a master’s hand and eye but they contain so much material in each frame that its understandable why people seem to be mesmerized when in front of anything she has created. The images contain layers of information and each time a layer is decoded and grasped, the viewer can then relax momentarily and begin work on the next layer. Photosculpture is one of those types of art that makes the viewer do a double take. Anytime that happens means it is a sure sign of artistic success.
What led you to the idea of creating these over exciting and absolutely unique Photosculptures?
I began shooting posing models and it seemed ordinary. I have always wanted to convey the meaning of my art, so, I decided to experiment with my knowledge regarding art and I enrolled into the art doll classes which were available as a part of the sculpture course at my university. I focused on techniques of creating porcelain faces, I made three designer dolls, but my issue remained unresolved – they weren’t related to people in any way, they were mere fantasy and dream images. Then I combined painting, photography, theatric art and sculpture into one whole.
What is the importance and purpose of the extraordinary Photosculpture series?
The importance of the Photosculpture series is to illustrate the human essence. Every single human being is special and each soul is incredibly delicate in its own way -and that is exactly what I express through Photosculptures which show the individuals beauty. My models, who might not consider themselves charming, feel in love with their faces and themselves after seeing their grace and elegance in Photosculpures. My purpose is to help people to recognize the beauty inside of them and what they don’t see.
What type of instruments do you use to design the extremely special and over exciting series of Photosculptures?
Stepping into the space of 3D, transforming the picture into a relief is my main instrument. As a photographer, I always aimed at pulling the present essence out from the person, the primitive form of perception, pure and unweighted by imposed problems. Sometimes, some methods of achievement such goals worked out, and I managed to shoot remarkable pictures, not just a bald portrait, but something catching, imperceptible and not expressible in words.
These marvelous Photosculptures seem quite alive and realistic, how do you perform with such great results?
The main point is that the mask contains a particle of a live human’s energy. Masks show human’s true selves, the soul of a person, and by looking at it you can see anything about that individual, just like an open book. The technology of such casting is that the model becomes limited with the sense organs, including sight; therefore, the person is way out of external stimuli, looks inside their self, concentrating on the sensations and falls into the meditative state close to a trance.
With these brilliant and fantastic Photosculptures what is your source of inspiration?
I love what I do. My work and new ideas push me into creativity. I feel like I have been making visual art since the beginning of human history, for a myriad of compelling and complex reasons. My inspiration is concentrated on the significance of what I create, and no matter if its literature or sculptures, it is still a story that I tell.
Knowing your glorious and magnificent talent, what are your plans for the future?
The third series of photosculptures will be much more elaborated technically. I made it my objective to make works more complete, to create emergence of volume from plain rather than being limited to porcelain masks. I have already been invited to galleries with whom I work with from the United States, Japan, Russia and Australia. In the future, I plan to develop and get deeper into details with new technology, effects and style for the series of Photosculpture, which I will introduce as a grandiose performance.