art&culture magazine spring/summer 2016 v10i3

Page 39

Krivosheiw with tools of his trade

Calliope (2011), welded and painted aluminum (138” x 72” x 78”)

abstraction and representation. “The studio’s ambience, the works in progress, sketches and everything in between provide insight into his creativity and work ethic,” says Sybille Welter, Art in Public Places coordinator for the City of West Palm Beach. It is an environment reflecting creative ferment. Typically, Krivosheiw bounces between six or seven projects at once, working in bronze, stainless steel or aluminum. Fascinated by the fundamental nature of metal’s longevity and strength, as well as its inherent elegance, he begins by roughing out a design on paper, then cutting and forming the paper. If the shapes are pleasing, he moves on to replicating the paper designs in metal, bending and welding metal sheets together before completing the sculpture with a glistening finish. “I didn’t choose this life,” he says. “It chose me. The goal is to make beautiful things for people.” Krivosheiw’s father ran a graphics and printing company, and one of the artist’s earliest memories involves him using blocks of wood and his father’s tools to construct new shapes out of old ideas. After that, he began drawing and painting, then apprenticed in Greece, before eventually working with the abstract sculptor Kevin Barrett. Three and a half years ago, he made the move to Florida and hasn’t looked back. “I can focus here,” the tall, articulate artist says. “I miss the camaraderie of the artist community in Brooklyn, but I get more work done here.” Drawing inspiration from sources as varied as industrial design and ancient Greek mythology, Krivosheiw hammers out a sophisticated balance between the familiar and foreign, effectively, as his artist’s statement says, expressing “the song of movement and the poetry of emotion through the language of metal.” “I think the most important thing for an artist is discipline. Every day you have to do something to make things, and make them more efficiently. You have to make the work,” he says. “The space between the viewer and the work is where the magic is.”