TABLETS

Landscapes

For a long time now, I have come to believe that much of sketches I had made in the past (in between 2002-2012) are a subject and material which needs to be digested and re-integrated in a present circuit of creation. 

TRANSMOGRAPHIES

"Views of a Glass" required a sort of ignition during the execution, but once finished, I felt the collages become a precedent, almost a law of aggregation of the parts. My utopic ideal would be an order without such laws. Following the path of Matisse I wanted to grasp the natural elements outside the window of my studio, in my garden. The studio window becomes an invisible character in itself.

VIEWS OF A GLASS 

 UP-DATED

The series of Zăercs as objectual support (see Trigâ-s small dictionary) is a multiple staging, the first exhibition of the project being named "Waste- first stage". A scene is a rarefied space, in which the actors are invested with almost shamanistic powers and cathartic ends, remaining, to a large extent, illusory machines. The art gallery is a scene, the paintings are another scene, behind the paintings there is another scene, unseen, of the zăercs which exist as real created objects and which stood at the basis of the paintings. 

AFTER ZAERCS

ABSTRACT

RUPTURE

The Views of a Glass collages, a forerunner of the Cadmium  paintings, could be under the sign of what Lucian Raicu describes in the book Reflections on the Creative Spirit" : "Boredom – a critical state par excellence" or"(...) it is about a childhood which isn't to be confounded with innocence; of which was said, with much reason, that it is boring, (...) childhood is not ignorant and irresponsible, far from that; nor the one fixed in time, the one, nor the maintained one, (...) the eternal childhood within us, without which man ceases to be a living man, becoming a boring mechanism, predictable, brutal". 

CADMIUM

 The basis of "Dust" is consisted of the information coming from reality, which involves two fundamental factors : the rational one and the one. emotional The information is immediately reported to a mental composition. Most of the time, these compositions  have no figurative counterpart in the actual event that determined them, but the created transpositions represent figures at the point of incidence between the anthropomorphic and zoomorphic reelms, sensorially between the humane and the animalic.

DUST

GEOMINA

In the autumn of 2012 I was searching, at the border of the imperceptible world, for that flashing life within objects, that pulsation or stillness, that intermediate life between animal and object, that shadow or that reflection,
"that mysterious element which is animal a few hours of the day and only under the action of light "(Odilon Redon," Journal ").

Maia S Oprea