«РАЗБОЙНИК» (Дисмас) — 92 × 54 × 22 см, бронза, 2022 г.Верую, верую, верую. Что будет дальше — не ведаю. Руками с истерзанной кожей Возьми меня в Царствие Божие. За все былые деяния Крест — моё покаяние. И станет кровь гроздью спелою. Верую, верую, верую.

“THE THIEF” (Dismas) — 92 × 54 × 22 cm, bronze, 2022.I believe, I believe, I believe. What comes next, I cannot foresee. With the skin of my hands torn and raw, Take me into the Kingdom of God. For all the deeds of days gone by, This cross is the penance I bear. And my blood shall ripen like a cluster of grapes. I believe, I believe, I believe.

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The Thief

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I have been sculpting for as long as I can remember.

Until the age of two, I was a very restless child—until plasticine found its way into my hands. After that, everyone forgot about me, just as I forgot about everyone and everything else. In my first year at school, I had already chosen sculpture as my future profession, unlike the other boys who dreamed of becoming cosmonauts, sailors or Native American warriors. I kept sculpting, and the awareness of my vocation came with time.

For me, the idea behind a composition comes first: not merely to sculpt a body, but to reveal through form the true soul of the subject—their essence, their hidden nature, their inner self. While sculpting, you sometimes begin to search within yourself. In any case, an artist’s work reflects their experiences and aspirations, preserving something of them in time.

Sometimes you simply knead a piece of plasticine in your hands and something interesting suddenly appears—something worth keeping. Yet the result is far more rewarding when you set yourself a task and then search for the answer through sculptural form. Sculpture, as an art that exists in space, is a true union of form and concept.

The path towards a finished work can be long. Some projects develop over years: something feels wrong, although you cannot yet understand exactly what it is. You turn the study around, search and reshape it.

Beyond the concept, a sculpture must not only be harmonious but also precisely constructed. Even the position of a little finger must be exactly where it belongs—not a millimetre to the left or right. Here, and nowhere else. This applies to every detail, especially in a multi-figure composition. This is where mathematics enters the work.

I am currently developing several projects that include the series Angels of the Apocalypse, Golgotha, Amazons and Kali Yuga. I feel a close connection to viewing the world through the lens of Eastern culture. I have travelled through India on many expeditions—from plein-air sessions, ashrams and yoga to the Rohtang Pass in the Himalayas, 4,700 metres above sea level in the north, and Kanyakumari, the southernmost point of the Indian peninsula. All of this provides a rich source of nourishment for my ideas and projects. These works are not about the past; through the “archaism of our time,” they reflect the present in which we live.

My aim is to express my thoughts through form. Over the years, I have accumulated an entire suitcase of sketches, while small clay studies fill the shelves, and something new is born every time. Even without new ideas, two lifetimes would not be enough. Some things I will never sculpt and they will remain on paper, because the newest ideas always feel closer.

An artist cannot help creating—in this sense, the artist is selfish, even if no one else needs the work. And the artist is always their own most demanding critic.

My studio is wherever I am. There is always paper, a pencil and plasticine in my car. Even on a desert island, alongside the work of survival, I would draw in the sand with my finger.

Welcome to the online exhibition of my work—a place where sculpture speaks through form, ideas and the artist’s experience.

Sculptor Victor Mosielev

Sculptor & artist

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Member of the Union of Artists of Russia
Member of the Interregional Union of Russian Artists (Crimea)
Honorary Member of the I. K. Aivazovsky Academy of Arts
Doctor of Science, Honoris Causa, IACA, in the field of Art

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Victor Mosielev is the sculptor behind the philosophical series “Angels of the Apocalypse,” “Golgotha” and “Kali Yuga.” Learn more about the artist and his projects.

Victor Mosielev — Biography and Work of the Sculptor

Victor Mosielev was born in Krasnoyarsk in 1970. He completed every stage of formal art education: the V. I. Surikov Krasnoyarsk Art School, the Krasnoyarsk State Art Institute, from which he graduated with honours, and the Creative Workshops of the Russian Academy of Arts. As a student, he travelled to India on a creative assignment, which resulted in the series Indian Studies. His works have been exhibited at the Indian Academy of Arts in Delhi and the State Tretyakov Gallery in Moscow. Since 1994, he has participated actively in regional, national and international exhibitions, Art Week projects and biennales. His work has also appeared in exhibition catalogues and the media.

I am currently developing several projects that include the series Angels of the Apocalypse, Golgotha, Amazons and Kali Yuga. I feel a close connection to viewing the world through the lens of Eastern culture. I have travelled through India on many expeditions—from plein-air sessions, ashrams and yoga to the Rohtang Pass in the Himalayas, 4,700 metres above sea level, and Kanyakumari, the southernmost point of the Indian peninsula. All of this provides a rich source of nourishment for my ideas and projects. These works are not about the past; through the “archaism of our time,” they reflect the present in which we live. My aim is to express my thoughts through form. An artist cannot help creating—in this sense, the artist is selfish. Today, my sculptures stand in cities from Vladivostok to Crimea. They address military and spiritual themes and portray saints and athletes. I always seek originality and a compelling composition, but I value independent creative projects most of all: Peter and Fevronia in Chastoozerye, Romance in Uray, and the memorials to Chernobyl clean-up workers and internationalist soldiers in Taman. Small bronze works by Victor Mosielev are held in the collections of many prominent figures, including Sergey Naryshkin, Dmitry Mindiashvili, Alexander Filipenko, Lev Kuznetsov, Natalia Osipova, Valery Vostrotin, Nikolai Valuev, Fedor Emelianenko, Vika Tsyganova and others.

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Ваза "Времена года"

“MUSE” — 58 × 30 × 17 cm, bronze, 2024.

«МУЗА» — 58 × 30 × 17 см, бронза, 2024 г.

“THREE BROTHERS” — 88 × 160 × 77 cm, bronze, patina.Conflicts between kindred peoples have shaped history for thousands of years. Three brothers fight one another, yet their shared body becomes a symbol of unity—a common origin, kinship and culture.The work invites us to consider that it is time to stop destroying one another: by harming those closest to us, we destroy ourselves. We are a single whole living on one planet. We are humanity.

«ТРИ БРАТА» — 88 × 160 × 77 см, бронза, патина.Конфликты кровных братских народов определяли ход истории на протяжении тысячелетий. Три брата сражаются между собой, но их общее тело становится символом единства — общего происхождения, рода и культуры.Работа заставляет задуматься о том, что пора прекратить истреблять друг друга: губя ближнего, мы уничтожаем самих себя. Мы — единое целое, живущее на одной планете. Мы — человечество.

“THE KEY TO HEAVEN” — 42 × 70 × 22 cm, bronze, patina, 2023.From the series “TIME OF ANGELS.”From which side of the lock will He insert the key? Will it open Heaven or the underworld? And what will be revealed beneath the mask—joy or sorrow? Shaped like the symbol of infinity, the key represents countless choices, wisdom or the serpent’s temptation. Choosing is never easy, but everyone must decide for themselves.Beneath the torn mask—a beast’s fierce grin, Or perhaps an eye—an everlasting light. And he who forged the keys to Heaven Will receive a fitting answer from fate.

«КЛЮЧ ОТ НЕБА» — 42 × 70 × 22 см, бронза, патина, 2023 г.Работа из серии «ВРЕМЯ АНГЕЛОВ».С какой стороны замка Он вставит ключ? Небо откроет или преисподнюю? И что проявится под маской — радость или скорбь? Ключ в форме бесконечности символизирует множество решений, мудрость или искушение змея. Сделать выбор непросто, но каждый решает сам.Под сорванной маской — звериный оскал, А может быть, глаз — нескончаемый свет. И тот, кто ключи от неба ковал, Получит от судьбы достойный ответ.

“VOID” — 41 × 14 × 22 cm, bronze, 2004–2013.

«ПУСТОТА» — 41 × 14 × 22 см, бронза, 2004–2013 гг.

“GELDING” — 49 × 48 × 20 cm, bronze, 2022.

«МЕРИН» — 49 × 48 × 20 см, бронза, 2022 г.

“THE WALL” — 33 × 57 × 19 cm, bronze, 2019–2021.From the series “ANGELS OF THE APOCALYPSE.” An impenetrable, invisible barrier embodies the struggle with our own emotions—an obstacle built from our insecurities, desires and fears. How can we overcome ourselves and break through the wall?The night takes me captive in its web. I search for the Milky Way among stone walls And windows with their frightening gaze. They will not let the free bird fly to the stars. Our walls are strong—brick upon brick, And, clawing at the stones, I cry out in pain: “Where is the way out? Where is the door?” It appears, But the four corners close into a circle.

«СТЕНА» — 33 × 57 × 19 см, бронза, 2019–2021 гг.Работа из серии «АНГЕЛЫ АПОКАЛИПСИСА». Непробиваемая невидимая преграда олицетворяет борьбу с собственными эмоциями — препятствием, сложенным из наших комплексов, желаний и страхов. Как преодолеть самого себя и пробиться за пределы стены?Паутиною ночь забирает в свой плен. Я ищу Млечный Путь среди каменных стен И окон, их проёмов пугающий взгляд. Птицу вольную к звёздам отпускать не хотят. Наши стены крепки — кирпич к кирпичу, И, царапая камни, от боли кричу: «Где же выход? Где дверь?» Появится вдруг, Но четыре угла замыкаются в круг.

“BODHISATTVA — ENLIGHTENMENT” — 65 × 22 × 16 cm, bronze, Afghan lapis lazuli, 2021.

«БОДХИСАТТВА — ПРОСВЕТЛЕНИЕ» — 65 × 22 × 16 см, бронза, афганский лазурит, 2021 г.

“UNICORN” — 150 × 80 × 140 cm, bronze, patina, 2022.From the series “TIME OF ANGELS.”The unicorn—a symbol of purity, innocence and true spiritual values—becomes a reflection of our troubled time. It has absorbed the thoughts and actions of people who have distorted its image.Two faces—the masculine and the feminine—merge into a single cosmic energy that every viewer can sustain through the sound and vibration of bells. Only together can we endure and preserve our shared humanity.

«ЕДИНОРОГ» — 150 × 80 × 140 см, бронза, патина, 2022 г.Работа входит в серию «ВРЕМЯ АНГЕЛОВ».Единорог — символ чистоты, непорочности и истинных духовных качеств — становится отражением нашего непростого времени. Он впитал в себя мысли и поступки людей, исказивших его образ.Два лика — мужское и женское начала — слились в единую космическую энергию, которую каждый зритель может поддержать звуком и вибрацией колокольчиков. Только вместе мы можем выстоять и сохраниться как человечество.

Dimensions: 64 × 28 × 35 cm. Materials: bronze, patina. Year: 2025.

Размер: 64 × 28 × 35 см. Материалы: бронза, патина. Год: 2025.

Dimensions: 90 × 67 × 22 cm. Materials: bronze, jasper. Year: 2021.This contemporary image of Medusa the Gorgon reflects the world during the coronavirus pandemic. In her mirrored eyes, viewers see their own reflection, while the blood-red jasper symbolises our long-suffering planet.

Размеры: 90 × 67 × 22 см. Материалы: бронза, яшма. Год: 2021.Современный образ Медузы Горгоны создан как отражение мира во время пандемии коронавируса. В её зеркальных глазах человек видит собственное отражение; кровавая яшма символизирует многострадальную планету.

Dimensions: 67 × 38 × 32 cm. Material: bronze. Year: 2026.

Размер: 67 × 38 × 32 см. Материал: бронза. Год: 2026.

Дерево, 21 × 44 × 30 см, 2017 г.

“THE 108TH SON OF GENGHIS KHAN” — 61 × 22 × 19 cm, stone, 2023.

«108-Й СЫН ЧИНГИСХАНА» — 61 × 22 × 19 см, камень, 2023 г.