Andrey Dillendorf’s sculptural products, usually small in size, executed in plaster or bronze, are full of severity and monumentality. The intense and expressive forms of his works speak about the influence Henry Moore and Hans Arp, and the conceptual approach to form reminds of Cubism and the oeuvre of Konstantin Brancusi. However, it would be wrong to name Andrey Dillendorf as the successor of any master or a trend: making use of experience of his great predecessors, the master creates his own language of a sculpture.

Filled with sense, the works of Andrey Dillendorf reflect not perceptible objects, but rather certain abstract essences, embodied in extremely concentrated form. Avoiding superfluous detail, the sculptor aspires to transfer images and ideas in their primordial pureness. The master usually works with integral spatial blocks and considerably generalises nature to almost abstract geometrical forms. The peculiar sensation of severity and dispassionateness causes the associations with the art of antiquity.

The pressed plasticity of the sculptural language does not disappear in graphic works by the artist — on the contrary, on the paper surface, this feature of his approach becomes even more obvious. Many graphic sheets, which the author names as sketches, actually seem to be quite finished artistic products. Dillendorf’s drawings make an impression that artists understands the whole being as a certain huge tangible block that can be dissected into components, that develops in space and receives sculptural volumes. This speculative materialization is exactly what Andrey Dillendorf’s creative method consists in.