One of his most recent and well-known works is the monument to Kurmandjan Datka near the Ala-Too cinema. However, it is simply impossible to call him just an executor, even though he is one, because it is one thing to make a model in clay and quite another to bring it to life in stone. Vladimir Vasilyevich not only worked with the material, by the way, in his own way, but also created his own works. The sculptors Turgunbay Sadykov and Viktor Shestopal played a huge role in his artistic development.
Vladimir Merzlyakov is 65 years old, but he is in excellent physical shape and still engages in design work and is passionate about painting.
“By education, I am a mathematician-programmer, as well as a candidate for master of sports in weightlifting. I taught this sport, as well as boxing, to students on a voluntary basis, as I received additional training as a coach in these disciplines. Since November 1973, by the decision of the Committee for Physical Culture and Sports under the Council of Ministers of the Kyrgyz SSR, I was appointed as a full-time weightlifting coach at the Olympic reserve youth school,” says Vladimir Merzlyakov.
- You don’t have the relevant education, how did you become a sculptor?
- It all started with the design of the weightlifting hall at the Kyrgyz State University. From a simple boiler room, I managed to create a real sports hall, with informational stands and equipment, where it was simply pleasant to be and train. And it was then that my acquaintance Georgy Vlasov saw my design work, was very surprised, and hired me as a form maker. That is, after the author sculpted with clay, I removed the mold. And as soon as I got into this element, large state orders started coming in: Gorky, Dzerzhinsky, we made large sculptures in Sokuluk and the Issyk-Kul region. I formed all these models. I can take a small model and create a large monument from it. When I left Sadykov, I worked for 12 years in restoration, and after our team was disbanded, I moved to Shestopal; our union lasted 10 years. He sculpted, and I translated it into stone. I really don’t have any artistic education. But I simply have a sense of form; all my relatives posed for me, and I sculpted them in clay. Once I brought five bags of clay, and while my parents were at Issyk-Kul, I created a workshop in the garden and started to create.
- And if we talk about your coaching activities, you achieved success there as well?
- When I was reconstructing the hall, I said: “An Olympic champion will grow here,” and I was right. Just five years later, the whole world learned about weightlifter Kanybek Osmonaliyev. And at that time, there was not a single Kyrgyz in the Kyrgyzstan national team, and this sport was mainly practiced by Koreans. In 1975, I took Kanybek Osmonaliyev to the Union Championship among youth, and he won a gold medal, and then he made it to the national team. And it was Semen Itkin who paved the way for him to Olympic championship. Since 1975, I have been a coach at the Youth Sports School. By the way, I also worked successfully with female weightlifters. I managed to develop methodological manuals, and my students took first places in various competitions, and the materials I prepared formed the basis of a dissertation. Athletes need to be developed in a versatile manner. Many coaches work simply by intuition, while I systematized everything. Do you know why many guys didn’t stay in this sport? Because they get bored working with a barbell. I have a special approach because future champions need to be recruited from 10-11 years old and developed in a versatile manner. Wrestling, boxing, basketball - muscles will develop harmoniously. And we developed the youth in a completely versatile way - we created ensembles, sang "Beatles" songs, folk songs, and gave a concert at the House of Pioneers. Sports are the prestige of the state, and we need to focus on physical culture and athletics.
- Throughout your creative career, was there only one personal exhibition?
- That's right, and I dreamed of it my whole life. On my 60th birthday, I held it at the Manuilova Museum House. The exhibition was titled "The Dream of a Sculptor." I just wanted to show everyone that I also engage in creativity. Because apart from Sadykov, no one knew about it. I exhibited my 22 sculptures and dozens of paintings. They waited thirty years for their moment. I didn’t want to boast; I just wanted to say that it’s not necessary to graduate from academies to create. Stone, wood, and metal are the eternal materials, not plaster. In all my works, there is my signature, and I wanted to show everyone that I am a creative person, especially since I am free-spirited.
I am very pleased when the stone comes to life, and you start to see the soul of a person looking at you. The sculpture practically talks to you. My main rule is to preserve all the smallest details; some simply convey the image of a person with general plans. And then the sculpture simply looks like a block. What I wanted, I achieved, and the authors did not interfere with my work, and even if the author receives all the titles, we are just executors. It didn’t bother me at all that they awarded something to them while I remained in the shadows, even without a certificate. I wasn’t concerned about what people thought of me; I just wanted to show at 60 that I didn’t live this life in vain. The monuments I participated in creating are a mark that will remain after me, and that is the main thing.
- Your dream of a personal exhibition has come true; what do you strive for now?
- Now, unfortunately, due to problems with my spine, I am not engaged in sculpture, but I would like to develop a unique method of healing based on various techniques, but without medications. The fact that I worked with large parts of monuments has affected my current condition. I would very much like for a person to manage their health independently. Now I am only engaged in design work – text and portraits.
