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Size: 50cm x 50cm x 9cm. The work consists of a painted plied, in technical polimaterica (acrilice tempera, oil, silkscreen ink on canvas) and a Plexiglas container that contains the painting to 7 cm away. The work hangs on the wall and has 9 cm projection. E 'accompanied of a cerificate of authenticity. It 'an astral landscape, and the theme is that of time, chaimato "Previous image the image." Starting from the idea that my work contemporary contains only the size of the space, I would also give it the dimension of time. In this sense, using a technique to its restoration, namely, self-destructing a small part of my finished work, I create a gap-lack that reinstatement later with the technique of painting restoration, thus simulating the pasaggio time. "When you look at an old opera house restored or not restored it acknowledges that time is an indelible element of life and the work that is consumed by the viewer along with the physical size of the work space. Time as a dimension is acquired exclusively with the passage marked and irreversible historical time, passage that also contributes to the poetic work. The restoration of the missing parts-integrative, occurred at random, has the purely functional to make them readable. So it is a medical intervention almost from the point of view of ethics, without changing pictorial message or design, of form or substance. While in an antique painting the destruction occurs empirically in time, I, in my work, I provoke the time of destruction, direct it at the level of composition, thus creating gaps lack. Happens then a reversal in time that gives complexity. At the spatial quality is the sum temporal quality, without which the poetry of each object would not exist. So my painting captures the dimension of time, irreversible act in its natural dynamics, realizing a survivor, a reversal, a physical return. In the masterpieces of the past centuries the dimension of time is a consequence. The act conservative restoration is only an intervention additional, undirected, which applies in parallel on the physicality of the work space. In my paintings, the act becomes an opposition conservative restoration. A means that contradicts the physical-spatial direction of work and creates a mental back in the distant past. It 'a game realized scientifically from technical point of view, which has the purpose of triggering an abstract level the problem thin, but essential, of the time. The work could die, but its rebirth realized with the help of the integrating restoration, is through the thickness of the time that works like a key to open the door of the imagination. The reintegration of lacunae lack (the act of additional restoration is controlled act in my work) also becomes a pretext composition that has the plastic values formal: the alternation of white space stucco (plaster of Bologna and rabbit glue) smooth, rough or ristuccati become much silence Everything participates architecture of the final image. Returns to the initial design of the geometry of the painting made from a collage of newspaper on the surface of the sharp and defatted white canvas. The system of work is in layers. A succession of images not juxtaposed, but overlapping, like the frames of a film in the memory or imagination, with different moods: nostalgia aggression, from the story of passion to cold Coding final score. So, pages hyperrealist destroyed by gestural movements, with effects of abstract expressionism and informal dripping, with a dominant color and expressive structural, create a considerable thickness of matter. The colors to the diluent (turpentine and nitro) stir the water glue with which was made the initial collage, and the surfaces of the newspaper are detached, also taking away the layers of matter polychromatic. Before removing the newspapers full of color layers carry the imprint of the initial design and resume the contours of the tracks belonging to the last color imagine. So come my gaps lack that bring out the initial design of the architecture of the painting. Caulking with chalk of Bologna and rabbit glue, scartavetrando, using a scalpel, and isolating ristuccando with Vernì and ox gall, restore the surface-mount hatch. With the help of the last cast delimited fields of color of the last layer which in turn becomes imagine the previous image that is built according to the new formal choice. This research tends to broaden the temporal space of my work, in contradiction with the concept of the end of the work of art. "
Size: 50cm x 50cm x 9cm. The work consists of a painted plied, in technical polimaterica (acrilice tempera, oil, silkscreen ink on canvas) and a Plexiglas container that contains the painting to 7 cm away. The work hangs on the wall and has 9 cm projection. E 'accompanied of a cerificate of authenticity. It 'an astral landscape, and the theme is that of time, chaimato "Previous image the image." Starting from the idea that my work contemporary contains only the size of the space, I would also give it the dimension of time. In this sense, using a technique to its restoration, namely, self-destructing a small part of my finished work, I create a gap-lack that reinstatement later with the technique of painting restoration, thus simulating the pasaggio time. "When you look at an old opera house restored or not restored it acknowledges that time is an indelible element of life and the work that is consumed by the viewer along with the physical size of the work space. Time as a dimension is acquired exclusively with the passage marked and irreversible historical time, passage that also contributes to the poetic work. The restoration of the missing parts-integrative, occurred at random, has the purely functional to make them readable. So it is a medical intervention almost from the point of view of ethics, without changing pictorial message or design, of form or substance. While in an antique painting the destruction occurs empirically in time, I, in my work, I provoke the time of destruction, direct it at the level of composition, thus creating gaps lack. Happens then a reversal in time that gives complexity. At the spatial quality is the sum temporal quality, without which the poetry of each object would not exist. So my painting captures the dimension of time, irreversible act in its natural dynamics, realizing a survivor, a reversal, a physical return. In the masterpieces of the past centuries the dimension of time is a consequence. The act conservative restoration is only an intervention additional, undirected, which applies in parallel on the physicality of the work space. In my paintings, the act becomes an opposition conservative restoration. A means that contradicts the physical-spatial direction of work and creates a mental back in the distant past. It 'a game realized scientifically from technical point of view, which has the purpose of triggering an abstract level the problem thin, but essential, of the time. The work could die, but its rebirth realized with the help of the integrating restoration, is through the thickness of the time that works like a key to open the door of the imagination. The reintegration of lacunae lack (the act of additional restoration is controlled act in my work) also becomes a pretext composition that has the plastic values formal: the alternation of white space stucco (plaster of Bologna and rabbit glue) smooth, rough or ristuccati become much silence Everything participates architecture of the final image. Returns to the initial design of the geometry of the painting made from a collage of newspaper on the surface of the sharp and defatted white canvas. The system of work is in layers. A succession of images not juxtaposed, but overlapping, like the frames of a film in the memory or imagination, with different moods: nostalgia aggression, from the story of passion to cold Coding final score. So, pages hyperrealist destroyed by gestural movements, with effects of abstract expressionism and informal dripping, with a dominant color and expressive structural, create a considerable thickness of matter. The colors to the diluent (turpentine and nitro) stir the water glue with which was made the initial collage, and the surfaces of the newspaper are detached, also taking away the layers of matter polychromatic. Before removing the newspapers full of color layers carry the imprint of the initial design and resume the contours of the tracks belonging to the last color imagine. So come my gaps lack that bring out the initial design of the architecture of the painting. Caulking with chalk of Bologna and rabbit glue, scartavetrando, using a scalpel, and isolating ristuccando with Vernì and ox gall, restore the surface-mount hatch. With the help of the last cast delimited fields of color of the last layer which in turn becomes imagine the previous image that is built according to the new formal choice. This research tends to broaden the temporal space of my work, in contradiction with the concept of the end of the work of art. "
Personal exhibition "Metamorfosi" - Spazio COMEL arte contemporanea gallery, Latina city, Italy, 3 - 18 dicembre 2016
ITINERARIA, Umberto Mastroianni Museum Marino 2022
ITINERARIA Umberto Mastroianni Museum Marino 2022
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GEOGRAPHIC - Structure 3 Painting

Luminita Taranu

Italy

Painting, Acrylic on Canvas

Size: 19.7 W x 19.7 H x 3.5 D in

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Video (present): https://www.youtube.com/watch?v=j7pPRIDBq_w Catalog online: https://www.sfogliami.it/fl/261180/y1spkn68j9t2cyuvv2q3n1gzxq9k?fbclid=IwAR29sf-0GF4I1VjuqqXQMxiHlewrT7Pmh88uNj2AlfUaKyh7D9uYgAW9chE#page/1 “Geographic” is a “mental and astral landscape”, the image of a “microscope magnification of structures”, as a fragment of a reversible micro-world in a geographical space belonging to the macro-world. This silk-screen painting on canvas, in oil and with the integration of a missing gap (with the insertion of restoration) is kept in a Plexiglas drawer with the intention of containing the space-time flow. Starting from the idea that my work contemporary contains only the size of the space, I would also give it the dimension of time. Using a technique to its restoration, namely, self-destructing a small part of my finished work, I create a gap-lack that reinstatement later with the technique of painting restoration, thus simulating the ride of time. Time as a dimension is acquired exclusively with the passage marked and irreversible historical time, passage that also contributes to the poetic work. In the masterpieces of the past centuries the dimension of time is a consequence. The act conservative restoration is only an intervention additional, undirected, which applies in parallel on the physicality of the work space. In my paintings, the act becomes an opposition conservative restoration. A means that contradicts the physical-spatial direction of work and creates a mental back in the distant past. It 'a game realized scientifically from technical point of view, which has the purpose of triggering an abstract level the problem thin, but essential, of the time. The system of work is in layers. A succession of images not juxtaposed, but overlapping, like the frames of a film in the memory or imagination. So come my gaps lack that bring out the initial design of the architecture of the painting.

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Painting:Acrylic on Canvas

Original:One-of-a-kind Artwork

Size:19.7 W x 19.7 H x 3.5 D in

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Born in Lugoj, Romania. Established in Italy since 1987, where he lives and works. Awards received: in 1987 she was awarded a National Prize of Romanian Visual Artists Union for drawing, engraving and lithography. 1996 won a silver plate for work SUPERSLIDE 29at the 23° Sulmona Prize International Contemporary Art Competition, Diocesan Civic Museum, Sulmona (AQ), Abruzzo; 2012 she received the Art Critics’ Special Mention for her pictorial installation Metaphor: Central Group Y + Central Detail + Lower Detail at the Lìmen International Art Competition held at the Enrico Gagliardi Museum in Vibo Valentia, Calabria; 2013 her project COWMAN of the World - was selected through competition and has participated at the inaugural Opening of the New Science Museum MUSE in Trento, designed by Archistar Renzo Piano. He participated with two digital installations and drawing performance. June 22, 2018 he was awarded the "Excellency Award" of the Romanian Government "100 for Centenary" (10 for Italy), held at Romanian Academy in Rome, for his artistic work made in Italy. Conferred by MPRP. 2020 - She was awarded the Special Prize for the Foreign Artist at 47°Sulmona Prize International Contemporary Art for the work PICTA MANENT 2020. Diocesan Civic Museum Sulmona (Aquila), Abruzzo. Works present in museums collection: MAGI ‘900 Museum of Italian Generations of '900, Pieve di Cento (Bologna) Scuderie Aldobrandini City Museum, Frascati (Rome) Museum Contemporary Art TEORA city Permanent Collection Center for Research, Documentation and Promotion Constantin Brancusi, Targu Jiu (Romania) Museum of History and Contemporary Art in Blaj, Romania National Library of San Nilo Abbey, Grottaferrata (Roma) Museum of the House of Dante Alighieri Foundation, Torre de’ Passeri (Abruzzo). Private collection: Italy, SUA. They wrote about his work modern and contemporary art critics: Mario de Candia, Giorgio Di Genova, Alessandro Masi, Alberto Dambruoso, Simonetta Lux, Grigore Arbore Popescu, Barbara Martusciello, Arnaldo Romani Brizzi, Ivana D'Agostino, Cinzia Folcarelli, Stefania Severi, Federica Di Castro, Adrian Guța The connecting thread of Ţăranu’s artistic development is metamorphosis, which also becomes a working method and a research method for conceptual and structural transformation in both graphic and pictorial form and in the construction of mega-objectual and digital installations.

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