Where everyday, from morning to night work of honor -
there is born a sigh of inspiration
Michael, you are a professional master cabinet maker. Tell me how it all began. This hobby comes from childhood? How old were you when you realized that you wanted to work with a tree?
As it began - and I do not remember, as I always was with a tree, before the school - I was making something, scribbling. And as he grew older with wood, he worked more and more often.
I remember that my mother gave twenty rubles a week for school meals. And I saved it, postponing it, to buy a tool. The first purchase was a small vice, green. They are still in my workshop. I take care of them as a memory, but I also use it. And the first touch of their sponges was on the key, which was carved out by the superfilm, when another key for the apartment was needed. And he, the key, was successfully fulfilling his destiny. One more memory: somehow at school on scrap collection someone brought the old trunk from the rifle. I changed it for something and made a butt for the trunk - I remember that the material was a birch board. From the first time it did not turn out well, I had to try, and the second time it was okay. Oh, and I rummaged through books of different, so that everything was right.
And on your question, when I realized that I want to work with a tree - everything is simpler here, since there was no understanding, as this is a self-evident process, like walking or breathing.
What attracted you to the rustic and adirondack styles? How did this happen: saw and understood - this is mine?
Rustic style is closest to nature, and I'm a regular at rafting, hiking. Even earlier, creating my works in the classical style, for some long period I was interested in the severity of the style or the line of Art Nouveau. There was excitement to achieve exclusivity, excellence - both in design and in quality. So that the mosquito does not undermine the nose. And everything, in general, it turned out. It was the time of my studies, my school - the school in its deepest sense. My Academy, if you want. In such styles as classics, modern things do not happen, everything should be perfect. It was the time of my Academy, which means a lot - but not much - it solves everything! And it was God's pleasure to drive me in these disciplines for ten years. And what teachers were there! Valery Filippovich, Sergey Shakurov. The most interesting time, I'll tell you, was. This is the nineties ...
Time private workshops, huddling in the cellars. There it was necessary to get into, to be accepted into this, so to speak, "club", so as to learn from these Masters how and what is being done. There were more secrets than you can imagine. And so in a private way, for a bottle of cognac and a block of cigarettes Marlboro, revealed secrets and techniques, but easier, knowledge.
Yes, yes, like this, in an informal atmosphere, everything, like hundreds of years ago. Ask: what about the schools, they were still then. Yes, the schools were, but the masters, by understanding the Master with a capital letter, there was not. The knowledge was very specific and terribly interesting.
And these knowledge, and the culture of handling wood, as I already understood much later, were basic, fundamental. And what only did not happen to do: it's set ceilings, and stairs, tables for different purposes, book racks, some compositions and installations, chandeliers, in short, everything that surrounds the person in the interior, and all this - not just the carpentry, although and simple doors and frames, too, had to do, and artistic design things, and all in their sketches and drawings. Suggestions to take work with the ready decision by me were rejected, since there is no interesting element in the work chain: to invent, draw. And some interesting projects somehow did not come across. Either everything is straightforward, which drove into the green melancholy, or everything is unreasonably disguised.
Working in classics, unconsciously felt that it was not mine. Somehow on the "Culture" TV channel, in the news of Europe, there was a story about the Berlin exhibition of master François Lefebra, and I caught a glimpse of his chair, over which the camera of the operator slid. My God. It was like a knockout blow. Undeniably, the back of the chair in the crocodile skin, the arms of antelope antlers, the legs - also some florid horns, and all this is very well arranged - not an armchair, but the tales of an unknown, but no doubt better storyteller. And I lost my peace. I was no longer interested and bored with all these styles, having nothing to do with nature, where everything is smooth-smooth, under thick polish, all dead, glass glamor. Disruptions began. What to do? How to live? And meanwhile, long before this knockout, I admired the branches of the pines, their extraordinary plasticity, and somehow unconsciously collected them. And for what, he himself did not know, just in case. And everything is created by God. The case did not take long to wait. The bell rang, and it turns out that people want to see forest tales in the house. In general, everything is from God. He gave me a job with snags, branches and driftwood in every way.
How did you manage to master the new direction? Studied already in the process of making orders?
How difficult, hard, unbearably hard everything began in a new field, even thoughts rolled over, and not toss. After the classics, yes in rustic. This, I tell you, is the same as swimming after the pool and into the ocean. And I began to sink. Well, how can it be, the month passes, the second one goes on, but there's no progress. Had more than hard, constant stress, insomnia, nervousness. But it was necessary to swim with inhuman efforts.
Rusticism is not like another planet, it's another galaxy, if you want, everything else, other air, other thoughts, images, even learning to think had to be re-created, because everything is different.
Styles in which you work, do not tolerate artificial materials. Where do you find a tree for your work, can you collect everything on your travels, or can you buy something?
Material for the styles of adirondack and rustic is not to buy in the sawnwood market. It is clear - boards and beams, shields are different, but not crooked branches and stumps, bark and horns. But what turned out to be easy for me, is the preparation of any curvilin and quicksand from the Volga coast. Collecting and searching for material is fun. For this process I had to acquire mountaineering equipment for climbing trees. And a boat with a motor. And a snowmobile, and kayaks, and stuff, and stuff.
Where do you get ideas and images for work? What or who inspires you?
And the images you see in works are given only by God and his creation, nature. And more music. Still, music, symphonic music is an amazing phenomenon! Surprising that it does not copy what God created, does not copy nature, but in an amazing, unthinkable way it reflects all the aspirations, excitements and impulses of a person.
Absolutely nothing to say what is going on in the heart, that it cramps and overflows, nothing can convey it, but music can. And he speaks so brilliantly and virtuously, with all the details and nuances. And it is also surprising that it does not hover in the air, but lies and is stored on paper. Inspiration, the most complex range of feelings and emotions that happened once with someone, is sealed on paper and waiting for its hour to again wander in the terrestrial layers of the planet.
Is not it all amazing! Music is music, a miracle that comes from a person.
How are the relationships in your team of artists? Is it easy for you to work in a team?
In my team there are no artists, and probably can not be, and this is understandable. There are disciples. They are different. And although there are not many of them, it is very, very difficult for them. This is a separate big topic. And it is better not to go into it.
What is your daily routine - work according to plan or by inspiration?
I will say this: wherever everyday, from morning to night work of honor, there is born a sigh of inspiration, or it may appear there.
No other way.
Tell us who your customers are, how they find you.
Who owns this - yes people, people who need it. And I'm very grateful to them, and I'm grateful to my customers! For the freedom given to me in the work and the reward for the work allowed me to take place as a master, and also to realize many projects that will undoubtedly go down in the history of applied art.
If you will allow, indelicate question - how the price for your works is formed? Each of the works is unique - it is probably difficult to establish the criteria? It happens that you are mistaken to the detriment of yourself?
I always try to explain to all my employers a simple and complex thing. That, if you specify the price in advance, then as a performer I lose such an important moment in the work as improvisation. She, darling, makes the work live, you are free to change and make changes to the project, seeing in the process that a stone is being asked for, and here the inserts from the stained-glass window - the work improves, unexpectedly the possibilities from the material itself, some kind of slice of a bough can change very much. We do not glue the wallpaper.
And when the cost is stipulated, improvisation becomes a killer of profitability. And there are many examples. They talked about the cost of the stairs. The customer did not go to the uncertainty in the price. And I want to do something for everything and with all my might, without any restrictions. Life is one, when and where else to disperse and show oneself. Also it was sold. I'll say right away, it turned out like a hoo, six months without a weekend, from morning to midnight. And now, all is calculated, what and where was spent. Everything is taken into account, I divide up my earnings for months, and get 17,070 rubles a month. And what, you ask. Strangely enough, I was not upset at all - what an experience, it is priceless. And money is empty today, God willing, it will be dense. Life is short, to do as much as they give. Who gives, will pay as much as it costs. There are no such. Somewhere more, somewhere less, but never at face value. Probably, because we are not in Milan or at least in Moscow. Maybe I'm doing something wrong myself. In the end, I do not go hungry, and the house is there, and the machine is decent - and thank God. And what could have been a lot more, and I probably deserve - well, if only I could. Where the valued artists in life, once or twice, that's all. So, all the glory to God!
Do you share experiences, give lessons? What can you advise to beginners?
And the newcomers, if they will, and forgive me for their instruction.
Do not chase after money, they will all run away from you. Strive for honesty in work, for harmony, and do not bother with work.
Doing, do not guess, it will be profitable for you, think, it will be good for the one for whom you are doing. It is better to do well and more expensive to ask, than it is unpretentious, but cheap: unskinful will irritate and anger, and cheapness will not be remembered in due course. But the good and the wonderful will always be happy, and the price that seemed high will soon be forgotten and will not be remembered. God will see your diligence and decency, and maybe thank you.
Michael, you are a professional master cabinet maker. Tell me how it all began. This hobby comes from childhood? How old were you when you realized that you wanted to work with a tree?
As it began - and I do not remember, as I always was with a tree, before the school - I was making something, scribbling. And as he grew older with wood, he worked more and more often.
I remember that my mother gave twenty rubles a week for school meals. And I saved it, postponing it, to buy a tool. The first purchase was a small vice, green. They are still in my workshop. I take care of them as a memory, but I also use it. And the first touch of their sponges was on the key, which was carved out by the superfilm, when another key for the apartment was needed. And he, the key, was successfully fulfilling his destiny. One more memory: somehow at school on scrap collection someone brought the old trunk from the rifle. I changed it for something and made a butt for the trunk - I remember that the material was a birch board. From the first time it did not turn out well, I had to try, and the second time it was okay. Oh, and I rummaged through books of different, so that everything was right.
And on your question, when I realized that I want to work with a tree - everything is simpler here, since there was no understanding, as this is a self-evident process, like walking or breathing.
What attracted you to the rustic and adirondack styles? How did this happen: saw and understood - this is mine?
Rustic style is closest to nature, and I'm a regular at rafting, hiking. Even earlier, creating my works in the classical style, for some long period I was interested in the severity of the style or the line of Art Nouveau. There was excitement to achieve exclusivity, excellence - both in design and in quality. So that the mosquito does not undermine the nose. And everything, in general, it turned out. It was the time of my studies, my school - the school in its deepest sense. My Academy, if you want. In such styles as classics, modern things do not happen, everything should be perfect. It was the time of my Academy, which means a lot - but not much - it solves everything! And it was God's pleasure to drive me in these disciplines for ten years. And what teachers were there! Valery Filippovich, Sergey Shakurov. The most interesting time, I'll tell you, was. This is the nineties ...
Time private workshops, huddling in the cellars. There it was necessary to get into, to be accepted into this, so to speak, "club", so as to learn from these Masters how and what is being done. There were more secrets than you can imagine. And so in a private way, for a bottle of cognac and a block of cigarettes Marlboro, revealed secrets and techniques, but easier, knowledge.
Yes, yes, like this, in an informal atmosphere, everything, like hundreds of years ago. Ask: what about the schools, they were still then. Yes, the schools were, but the masters, by understanding the Master with a capital letter, there was not. The knowledge was very specific and terribly interesting.
And these knowledge, and the culture of handling wood, as I already understood much later, were basic, fundamental. And what only did not happen to do: it's set ceilings, and stairs, tables for different purposes, book racks, some compositions and installations, chandeliers, in short, everything that surrounds the person in the interior, and all this - not just the carpentry, although and simple doors and frames, too, had to do, and artistic design things, and all in their sketches and drawings. Suggestions to take work with the ready decision by me were rejected, since there is no interesting element in the work chain: to invent, draw. And some interesting projects somehow did not come across. Either everything is straightforward, which drove into the green melancholy, or everything is unreasonably disguised.
Working in classics, unconsciously felt that it was not mine. Somehow on the "Culture" TV channel, in the news of Europe, there was a story about the Berlin exhibition of master François Lefebra, and I caught a glimpse of his chair, over which the camera of the operator slid. My God. It was like a knockout blow. Undeniably, the back of the chair in the crocodile skin, the arms of antelope antlers, the legs - also some florid horns, and all this is very well arranged - not an armchair, but the tales of an unknown, but no doubt better storyteller. And I lost my peace. I was no longer interested and bored with all these styles, having nothing to do with nature, where everything is smooth-smooth, under thick polish, all dead, glass glamor. Disruptions began. What to do? How to live? And meanwhile, long before this knockout, I admired the branches of the pines, their extraordinary plasticity, and somehow unconsciously collected them. And for what, he himself did not know, just in case. And everything is created by God. The case did not take long to wait. The bell rang, and it turns out that people want to see forest tales in the house. In general, everything is from God. He gave me a job with snags, branches and driftwood in every way.
How did you manage to master the new direction? Studied already in the process of making orders?
How difficult, hard, unbearably hard everything began in a new field, even thoughts rolled over, and not toss. After the classics, yes in rustic. This, I tell you, is the same as swimming after the pool and into the ocean. And I began to sink. Well, how can it be, the month passes, the second one goes on, but there's no progress. Had more than hard, constant stress, insomnia, nervousness. But it was necessary to swim with inhuman efforts.
Rusticism is not like another planet, it's another galaxy, if you want, everything else, other air, other thoughts, images, even learning to think had to be re-created, because everything is different.
Styles in which you work, do not tolerate artificial materials. Where do you find a tree for your work, can you collect everything on your travels, or can you buy something?
Material for the styles of adirondack and rustic is not to buy in the sawnwood market. It is clear - boards and beams, shields are different, but not crooked branches and stumps, bark and horns. But what turned out to be easy for me, is the preparation of any curvilin and quicksand from the Volga coast. Collecting and searching for material is fun. For this process I had to acquire mountaineering equipment for climbing trees. And a boat with a motor. And a snowmobile, and kayaks, and stuff, and stuff.
Where do you get ideas and images for work? What or who inspires you?
And the images you see in works are given only by God and his creation, nature. And more music. Still, music, symphonic music is an amazing phenomenon! Surprising that it does not copy what God created, does not copy nature, but in an amazing, unthinkable way it reflects all the aspirations, excitements and impulses of a person.
Absolutely nothing to say what is going on in the heart, that it cramps and overflows, nothing can convey it, but music can. And he speaks so brilliantly and virtuously, with all the details and nuances. And it is also surprising that it does not hover in the air, but lies and is stored on paper. Inspiration, the most complex range of feelings and emotions that happened once with someone, is sealed on paper and waiting for its hour to again wander in the terrestrial layers of the planet.
Is not it all amazing! Music is music, a miracle that comes from a person.
How are the relationships in your team of artists? Is it easy for you to work in a team?
In my team there are no artists, and probably can not be, and this is understandable. There are disciples. They are different. And although there are not many of them, it is very, very difficult for them. This is a separate big topic. And it is better not to go into it.
What is your daily routine - work according to plan or by inspiration?
I will say this: wherever everyday, from morning to night work of honor, there is born a sigh of inspiration, or it may appear there.
No other way.
Tell us who your customers are, how they find you.
Who owns this - yes people, people who need it. And I'm very grateful to them, and I'm grateful to my customers! For the freedom given to me in the work and the reward for the work allowed me to take place as a master, and also to realize many projects that will undoubtedly go down in the history of applied art.
If you will allow, indelicate question - how the price for your works is formed? Each of the works is unique - it is probably difficult to establish the criteria? It happens that you are mistaken to the detriment of yourself?
I always try to explain to all my employers a simple and complex thing. That, if you specify the price in advance, then as a performer I lose such an important moment in the work as improvisation. She, darling, makes the work live, you are free to change and make changes to the project, seeing in the process that a stone is being asked for, and here the inserts from the stained-glass window - the work improves, unexpectedly the possibilities from the material itself, some kind of slice of a bough can change very much. We do not glue the wallpaper.
And when the cost is stipulated, improvisation becomes a killer of profitability. And there are many examples. They talked about the cost of the stairs. The customer did not go to the uncertainty in the price. And I want to do something for everything and with all my might, without any restrictions. Life is one, when and where else to disperse and show oneself. Also it was sold. I'll say right away, it turned out like a hoo, six months without a weekend, from morning to midnight. And now, all is calculated, what and where was spent. Everything is taken into account, I divide up my earnings for months, and get 17,070 rubles a month. And what, you ask. Strangely enough, I was not upset at all - what an experience, it is priceless. And money is empty today, God willing, it will be dense. Life is short, to do as much as they give. Who gives, will pay as much as it costs. There are no such. Somewhere more, somewhere less, but never at face value. Probably, because we are not in Milan or at least in Moscow. Maybe I'm doing something wrong myself. In the end, I do not go hungry, and the house is there, and the machine is decent - and thank God. And what could have been a lot more, and I probably deserve - well, if only I could. Where the valued artists in life, once or twice, that's all. So, all the glory to God!
Do you share experiences, give lessons? What can you advise to beginners?
And the newcomers, if they will, and forgive me for their instruction.
Do not chase after money, they will all run away from you. Strive for honesty in work, for harmony, and do not bother with work.
Doing, do not guess, it will be profitable for you, think, it will be good for the one for whom you are doing. It is better to do well and more expensive to ask, than it is unpretentious, but cheap: unskinful will irritate and anger, and cheapness will not be remembered in due course. But the good and the wonderful will always be happy, and the price that seemed high will soon be forgotten and will not be remembered. God will see your diligence and decency, and maybe thank you.
