The sculpture park at Sumy State Pedagogical University is a space where contemporary art enters into dialogue with the history of education, culture, and the philosophy of knowledge. Each work in the park is not only an artistic object but also a conceptual statement that embodies a certain idea related to education, creativity, and development.
The sculptures, made in various materials and styles, combine the traditions of modernism, postmodernism, and contemporary artistic practices. The author uses techniques of cubism, abstraction, psychoanalysis, and synthetic methods of composition, creating a unique sign system that allows the viewer to discover new meanings and interpretations.
The unveiling of each new sculpture becomes part of the formation of the university's cultural environment, emphasizing its mission - not only to impart knowledge, but also to inspire, expand the boundaries of thinking, and offer new approaches to understanding reality. The sculpture park is a living space that develops alongside the university, reflecting its traditions, aspirations, and vision for the future.
The sculpture «First Teacher» was created for the 100th anniversary of the Sumy State Pedagogical University named after A.S. Makarenko. The composition of the work unfolds around several levels of interpretation. It combines both the concrete image of a teacher and a student and the abstract image of time, linking the past, present, and future.
2024, resin, modeling, casting, 2x1x1 m
The sculpture was the first in a series, initiating the creation of the Sumy State Pedagogical University named after A.S. Makarenko Sculpture Park. Its composition embodies the idea of fruitful interaction between a mentor and a student, because every great journey begins with a small seed of knowledge that sprouts thanks to care and perseverance.
At the center of the artistic image is a hand gently holding an acorn. This is not only a natural symbol of the future mighty oak, but also an allegory of the educational process: the teacher sows knowledge in the student's consciousness, helping him to grow, develop, and become stronger. The shape of the hand conveys a sense of reliability and support, emphasizing the role of the mentor as the one who lays the foundation for further personal development.
The sculpture interacts organically with the natural environment, changing in perception depending on the angle of view and the play of light. It reminds us of the value of educational tradition and the importance of caring for knowledge, which, like a seed, grows into great achievements over time.
This sculpture is the second in a series exploring the relationship between traditional Ukrainian art and contemporary plastic forms. The composition was created in the traditions of Ukrainian modernism, where the main idea is to combine traditional Slobozhanshchyna ornamentation with the latest approaches to creating park sculptures.
Intertwined in space, ornamental motifs form a complex dynamic structure that interacts with the environment through openwork voids. They not only add lightness to the composition, but also allow the viewer to delve into the visual play of light and shadow, perceiving the work from different angles.
The dominant plant motif here is enriched with modern elements that hint at ball games. This gives the traditional form a new meaning, where sports symbols echo the energy of movement, teamwork, and the spirit of the modern city.
The sculpture became the third object and continuation of the Sculpture Park series at Sumy State Pedagogical University named after A.S. Makarenko.
The plot of the work is based on the well-known Ukrainian expression “Put all the dots over the 'i's.” The artistic image was created from a combination of several elements. The theme is revealed through a combination of folklore and traditional Ukrainian art. The expressiveness of the form is emphasized by the ornamentation characteristic of three-sided carved woodwork in combination with the completely polar material of the composition - concrete. The overall structure of the composition is also resolved through a combination of opposites - a round sculpture and a relief. Five “dots” are arranged in a circle, like a spiral, connecting the two relief parts into a single whole. In our opinion, such combinations have enriched the image and given the viewer space to participate in the perception and interpretation of the work, finding their own associations and meanings.