Maxim Kozlov-Shulzhenko is a young Russian designer and artist living in Moscow. In this interview, we speak with him about art, the social mission of creative individuals, faith, and some interesting directions for applying artistic talent.
— Maxim, what does it mean for you to be an artist?
— Contemporary postmodern society makes the roles and statuses of each person deeply conditional and relative. To call oneself an artist means to exist within a “society of the spectacle,” the direction of which you neither know nor determine. Every role presupposes a certain set of expected qualities; belonging to a role defines you, though in essence you may have nothing to do with it. There are actually very few true artists, so I do not consider myself one in the full sense of the word. I would even like to distance myself from that label—too many misunderstandings are associated with it. Any name or designation is a form. Content and form must be unified. Creativity should not be limited by form, because in reality it is ideas that are created, whether in music, sculpture, architecture, or design. In my case, artistic work is an attempt not to bury the small coin given by God, which in the Gospel is called a “talent.”
— Not long ago, your article “The Future of Postmodern Culture” was published on several websites. You are a designer and artist, yet suddenly you turned to philosophy. Are art and philosophy connected?
— The point is that behind every artistic image, as well as every artistic movement, there is an idea that determines its value and its place in the structure of being. This may be felt intuitively but is ultimately consciously comprehended. Any work of art reduces to an idea, regardless of its actual content. Behind the image there is a prototype and an idea. Great ideas govern peoples and worlds; in a sense, it is not people who create ideas, but ideas that generate the concepts of human existence. The study of ideas, their influence on society, their exploration through the methodology of art and design, and their expression in творчество—this is the connection between philosophy and art. In essence, art is one of the means of conveying ideas. And if we speak about what an idea is—it is the design of God.
— Do you agree with Immanuel Kant’s assertion that painting, unlike other visual arts, is capable of penetrating more deeply into the realm of ideas and thereby expanding the scope of contemplation?
— I am not particularly close to rationalist philosophy. It is known that for Kant, the highest art was graphic art. Graphics is indeed one of the most intellectual forms of art. Therefore, painting, containing an irrational yet purposeful meaning, seemed no less valuable to him. Contemporary art has pushed both the irrational and intellectual components to their limits. Conceptualism on one side and pure intuitionism on the other are the two poles of contemporary—specifically актуальное—art. At its highest level, art becomes the deepest, almost intimate side of any philosophy. It both reveals ideas and deepens them through a synthetic process of empathetic immersion, uncovering hidden meanings and directing them into the future.
— I think for any creative person it is important to receive recognition. Every artist or designer probably wants to convey something through their work. What do you want to “say” to people?
— Despite the fact that every creative person grows tired of this question, it is very important. What you say begins with yourself. Your attitude toward your work reflects your attitude toward your own soul—how attentive you are to your inner world, your thoughts and intentions. This inner attitude inevitably manifests outwardly—in the relationship between artist and viewer. I try to approach this responsibly and encourage my students (I teach) to do the same. If art does not affect a person, why engage in it? For oneself? That would mean indulging one’s ego and trivial pleasures. But if it is for people, then a completely different level of reflection begins. Taking this responsibility seriously, one wants to speak about what is most important for a human being—about God. Of course, to the extent that this is accessible both to me and to others. Speaking about God does not necessarily mean depicting Him directly.
— What, in your view, is the social mission of an artist?
— In the contemporary art world, there are two opposing positions. One is the “World of Art” (Mir Iskusstva) position, which claims that art exists only for art, with aesthetics as a self-contained value. This includes classical painting and some modernist art—Modigliani, Rothko. The other position is that of the political avant-garde, where art becomes a vehicle for ideological expression—conceptualism, socialist realism, actionism, and various aggressive cultural movements. A true artist should stand not between these positions, but outside them, addressing fundamental questions of being: what is the foundation of existence, what is the nature of this transient world? Is this a civic position? Yes and no. Yes, because being largely determines consciousness, and politics is one of its properties, shaped by answers to ultimate questions of life.
— Tell us about one of your paintings.
— It is better, of course, to show it. Perhaps the most important work for me at this stage is a depiction of Hell, where people are punished by their own sins—that is, by themselves. Due to the difficulty of working with live models, I often had to pose myself. Thus, I became the model for the sinners in Hell. I interpret the principle of Silouan the Athonite—“keep your mind in hell and despair not”—in this way.
— Religion, Orthodoxy, plays an important role in your work. Is this just a trend, or a deeply personal choice?
— A trend, as Goethe said, can be “part of that force which eternally wills evil and eternally works good.” Many of my peers came to Orthodoxy following a trend; some left, but others stayed and were transformed. For me, coming to God was the long-awaited answer I had sought since childhood—the meaning of suffering and death. In Orthodoxy, even death is not total annihilation, which already gives hope. The work of Fr. Seraphim Rose, “The Soul After Death,” describes the posthumous fate of the soul. Today, the world is full of temptations, and for someone without early spiritual experience, it is difficult to rebuild their life. Modern society is deeply anti-Christian. A person must choose: bread or the cross, comfort or salvation through suffering.
— Some contemporary artists produce provocative works that challenge moral and aesthetic norms. Do you have internal limits in your творчество?
— Contemporary art aims to go beyond boundaries. Soon there will be no boundaries left to cross. But true freedom exists only within limits. Spiritual freedom comes only through living according to Christ’s commandments. Only there is genuine creativity—a co-creation between human and God. So I say: if you want to be an artist, first become a Christian.
— How do you feel about contemporary art?
— In the common sense, contemporary art is postmodern art. I believe it is nearing the end of its short life. Sterility cannot be cured. There is a possibility of a new great style emerging, which I call the “New Middle Ages,” where religion will become central. This style will come through upheavals, purifying people and societies.
— Who are your artistic role models?
— I do not like partisanship. It imposes behavioral templates. Even being “non-partisan” is still a kind of belonging. Politics is becoming increasingly important in a world on the brink of major upheavals. My ideal has always been St. Andrei Rublev; I consider his path the most beneficial for any artist.
— What does design mean to you?
— Design, for me, derives from futurism and Heidegger’s philosophy. I am currently writing an article “Design and Dasein.” Being precedes the human; the world of things shapes human existence—hence consumerism. But design is also a universal methodology for creating meaningful, functional forms. Unlike art and philosophy, which can be too abstract, design unites necessity and metaphysics. Its influence is even greater, as it integrates all traditional arts. Design can even compete with philosophy in posing ultimate questions of being. It is a worldview that, transformed through Orthodoxy, acquires a value-based paradigm. Unfortunately, the profession is still young and often misunderstood.
— And finally, what do you dedicate your art to?
— My great hope is that my art will help at least one person find their way to God.