Serik Kulmeshkenov is showing me his penis--one of them, anyway. "I've designed erotic bookplates before," the artist says, returning from the table that holds his printing and engraving gear, "but never pornographic ones. This one is pornographic."
He displays a thick, small square of white paper with a hard, venous member wrapped in a Napoleonic officer's coat printed in black on its glossy surface. Despite its lack of proper eyes, ears, or mouth, the organ seems sentient.
We're in the living room of Kulmeshkenov's street-level digs, a cozy one-bedroom on one of downtown Minneapolis's throbbing arteries. Kulmeshkenov's command of his environment is such that the place seems spacious, despite a profusion of surfaces and gadgets. You'd never guess that he is legally blind. Trim at age 50, with thick gray hair just grazing the shoulders of his electric-blue polo shirt, he moves quickly, deftly, and often. He disappears momentarily, returning with the sketches for nine other plates, all similarly themed. "It's what the guy who commissioned them wants," he says, shrugging.
Maybe Kazakhstan, where Kulmeshkenov spent his first 44 years, is more conservative than the U.S. To my jaded eye, the print seems more comically ribald than pornographic. Still, it's a lot naughtier than any of the nicely framed and matted selections lining his living room walls--a tiny fraction of the 250 or so bookplates the artist has designed since he got the bug in 1984. (Bookplates are meant to be affixed to the inside cover of a book, where they identify a volume as belonging to a particular collection. Aficionados of this art form, however, also trade the bookplates they've commissioned for other original works.)
"I drew when I was growing up," Kulmeshkenov says, "but I never planned to be an artist. I thought I'd just be some kind of working-class guy. After secondary school, I spent two years in the Soviet Army. I figured I'd just get some kind of regular job when I got out."
Instead, returning to his native Astana, he enrolled in architecture school at a friend's behest. After graduation, he worked for the government until his vision started failing less than two years later. Diagnosed with Behçet's Disease, a rare autoimmune disorder that causes an inflammation of the blood vessels, he lost his job. "I felt as though my life was over," he recalls. "Suddenly, I was on a pension, just an empty shell."
Soviet treatment modalities for the chronic condition were more than a little clunky. "Every month, I'd spend around three weeks in the hospital," he says. "After that, my vision would be perfect for a week to 10 days, then the inflammation in my eyes would start getting worse again and I'd have to go back to the hospital."
While visiting his mother's house during a sighted interlude, Kulmeshkenov came across a newspaper article titled "The Magic World of Ex Libris." "At the time," he says, "I knew next to nothing about bookplates and the art of ex libris ("from the library of"). But the article had a magnetic effect on me. I wrote the journalist, asking if he knew where I could get more information. I didn't even know if he'd reply."
He didn't. But around six months later, an envelope from Siberia arrived in the mail. "I opened it and a few very nice bookplates fell out. "The writer had passed my letter on to Oleg Besedin, an artist who lived in Irkutsk," he says. "He was very nice, very helpful. I felt as though a whole new world had opened up before me."
Thanks to Besedin, Kulmeshkenov was soon corresponding with artists and collectors all over Europe while polishing his engraving skills. "Metal--usually copper--is the best engraving medium," he says. "Wood is number two. I use Plexiglas, which isn't quite as good."
You wouldn't guess from the final product that Kulmeshkenov is working with inferior materials. A bookplate he designed gratis for the Czech fantastic-realist Albin Brunovsky depicts a pair of arms rising from the surface of a barren planet. One hand is holding a sheet of paper over a thick, old tome. The other is drawing a face on it. Meticulously shaded and dynamically detailed, the print would be a wonder even if it weren't only three inches by four inches, with a fairly generous margin.
"He's my all-time favorite artist," Kulmeshkenov says of Brunovsky, vanishing into the bedroom and reappearing with several gray envelopes. "Every now and then I'd get something in the mail from him: no letter, just a few bookplates. Then, he sent me this." The artist pulls out a plate a little bigger than most, dominated by an intricate, leafy arch, with several handwritten lines at its base. "It's the original," he says proudly.
The print is lovely, and every bit as meticulously rendered as its counterpart. But Kulmeshkenov got the short end of the vine by just a hair. Brunovsky played his hand relatively safe, hewing to a simple scheme and plenty of negative space. Kulmeshkenov, here and elsewhere, pursues maximum density, covering every available centimeter with evidence of his hard-won drawing skills and architect's sense of proportion. There's an exactitude to the detail and the geometry, enriched by a surrealist bent that drives much of the artist's noncommissioned work.