Ekaterina Solovieva, The Earth’s Circle. Kolodozero, 2018
Photographer: Ekaterina Solovieva, (Born Moscow, lives in Hamburg, Germany)
Publisher: Schilt Publishing, Amsterdam, copyright 2018
Essay: Ekaterina Solovieva
Text: English, Translation by Diego Benning Wang
Softcover, Swiss Binding, 141 pages, 68 images B&W, 7 1/4 ” x 9 1/2″ x 2 inches, printed in Stuttgart by Offizin Scheufele
Art Direction and Design: Konstantin Eremenko, Moscow
Notes: The cover image of this intriguing photo book is of a bearded man with long hair blowing in the winter wind, looking back over his shoulder with fences of a small village dividing the landscape behind him. Thus we begin to know the subject of this book, a “punk” Moscow seminary graduate who traveled to this remote Russian village with friends searching for the meaning of life, ultimately rebuilding the local church that burned down 40 years previous, in the process revitalizing the spiritual community and binding him to the villagers and to the land.
The photographer, Ekaterina Solovieva, whose work primarily focuses on country folk-life in the former Soviet Union with a special emphasis on religious customs, also provides text to accompany her poetic black and white imagery. This book takes a bit of time to absorb and fully appreciate. On first viewing, the presentation of the images is compelling: some pages filled entirely with a borderless single image, some images printed on black pages, the next on white. The book is divided into nine segments with titles such as “Easter”, “Fall- Grape of the North”, and “The Interlude to Winter”.
Solovieva’s images convey the essence of this small rural community: bundled up children, older women wearing traditional scarfs inside to keep warm, small shacks barely visible through the brush, abandoned fishing boats swallowed up by the weeds, simple log homes illuminated by window light and candles, some heated with the consumption of strong vodka and late-night conversation, wet mud roads, the metallic shine of cooking pots, the unadorned beauty of apples spilled onto a wooden table.
Solovieva photographs a place and people without pretense, a digital free environment unpolluted with branding on clothes or advertisements dominating the streets. Kolodozero the village seems to exist beyond the reach of commercialism or the creep of digital technology, the villagers lacking in the self-consciousness of modernity. Solovieva photographs the details and intimate moments that give the viewer an understanding of why a young Muscovite seminarian transformed into the village priest and why, unlike friends “who came here and left their hearts and souls” yet “found the strength to return to normal life”, he says of himself “I am the weak one, as I am unable to leave.” These final lines of text, written in white on a black page like snow falling into a black night, compel the reader to reverse course and view the images of this remote village and the priest who fell in love with its landscape and inhabitants, from back to front, and then front to back again, each time slowing the pace, like the spiritual journey of Father Arkady himself, absorbing the beauty of this chosen life more deeply.
Best regards! Melanie Chapman
Postscript from Ekaterina Solovieva: Several days after the book was published, on February 12th 2018, I have got sad news from Kolodozero. Priest Arkady Shlykov suddenly died after a heart attack. He was 45 years old. All the years he lived in Kolodozero he took all the problems and sorrows of the people of the village very personally, helped them selflessly. He used to spend hours hitchhiking to the remote communities to baptize, read the funeral service or just serve in the temple. And at some moment his heart gave up. A new priest has been already appointed to the church in Kolodozero. But he won’t be able to serve regularly, and people are yet to get used to him. – Ekaterina