Motolyanets Semyon

...Things are genuine when they have an authentic purpose. They are conglomerations and precise material representations of the time when they were created (in style, design, and character). 

They are an exact piece of reality, proving that time leaves its mark. For me, a thing itself represents absolute reality, as opposed to images of a thing, which always take second place in relation to the real thing. It was the combination of these broken fragments of reality with their relative meaning and imagery and their way of interacting with a person that piqued my interest and made me begin a series of objects — anti-casements — where text gives way to the text, the object and the space of things, as well as their materiality. When we separate out part of an object, we forfeit its function and turn it into a detail in the puzzle of reality, bringing it to the maximum size that fits this series. This part of the door is the handle, this part is the latch, that part is the keyhole, and all of it part of the same object, deconstructed and reconstructed as a separate work. A chunk is torn out of reality — a fragment, piece, or shred of it — and reality suffers a loss. The concept of antiwindowsallows using any material that the artist is able to gnaw off of the world. The numeric values used on these antiwindows add an element of objectification. These are not inventory numbers, or sequential numbers. These are signs that are ambiguously tied in, relating the nature or form of the object fragment. The three-dimensionality of a thing is emphasized by movable joints: hinges with the presumed purpose of representing the same thing in two dimensions. The concept of anti-windows likewise restricts the color spectrum used for the object or its environment. The small windows don't have a picturesque background in a harmonious combination of colors — here the color is nominal and invokes a monosyllabic interpretation of the object's color values…

Semyon Motolynets

The project Luch Soap and Watch Factory, created by Semyon Motolyants specifically for the New Holland Pavilion, is an artist's reflection on the relationship between material and time. For more than ten years, soap has been the theme and material of creativity for Motolans. This time it appears in the form of seemingly fragile wooden pyramids. By assembling towers of soap bars in delicate shades and streamlined shapes, the artist raises questions about the transience of beauty and the importance of its contemplative component. The name of the project also refers to the Minsk Mechanical Watch Factory, which produced the Luch watch, an object from Semyon Motolyants' childhood, appealing to another category of time. At the same time, the ray is something intangible, just like the passage of time itself. 

It turned out that you can use soap to count down the time: a standard piece lasts for about 4 weeks. You get a candle clock, but instead of fire, water acts on it. Such watches are based on the principle of the disintegration of matter: the material of measurement gradually disappears from interaction with the world. However, all matter is subject to extinction in different ways. In the Soap Clock series (2018) I compared natural and ceramic soaps so that by 2024, the organic form began to disappear even without washing, just under the influence of a glance. And the ceramic remained practically untouched by time. For the Soap Towers series of works, exposure to the world and eye contact are equally important. Monumental pyramids of soap can only exist in a single moment of our gaze at them: the elusive nature of soap will immediately destroy the unstable shape. It is fixed only by the viewer's gaze. At the same time, for me, looking is not a way to see something, but, like Merleau-Ponty, a self-sufficient form of thinking. The gaze seems to envelop the pyramids, thinning their elements with invisible friction until they disappear, counting their time to the end - Semyon Motolyanets.

Ceramic soap pyramids are always about the countdown, an analog soap clock. A person always strives to count, count down time, intuitively feeling its extremity. Starting with a sundial, then an hourglass, man over the millennia came to a clock of almost cosmic precision. A second, a minute, an hour. The futility of trying to curb time can be seen in the soap clock — we count down the time with soaps, on average, a person uses 317 soap bars in a lifetime. This is how pyramids turn into clocks, in which the proportions of time are slippery and elusive. They remind us that we must appreciate the present and keep an eye on balance.

Semyon Motolyanets