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Samarkand
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Samarkand Painting

Emanuel Crudu

Germany

Painting, Oil on Canvas

Size: 35.4 W x 35.4 H x 0.4 D in

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About The Artwork

Samarkand (2020) - from the series 'Geographies of the Soul' Oil on Cotton Canvas Dimensions: 90 x 90 x 1 cm Painted in Paris (France) Samarkand (oil on canvas) is the first of the oil painting series 'Geographies of the Soul' (2020 - 2023), referring to “Samarkand, the most beautiful face the Earth has ever turned towards the sun.” that Amin Maalouf relates to Omar Khayyam’s Rubáiyát. Rough tactile surface resulted from palette knife painting and directly superposition of thick layers of oils of different consistencies. Visible cracks in some parts resulted from intentional contra-technique by applying thinned layers of color over more consistent layers underneath. 'Geographies of the soul' (2020 - 2022) is an abstract narrative series of oil paintings. Each one reflects, in some free gestures, a thought, a text, or a paragraph from some of my readings. For a passionate reader, they reflect a non-textual narrative instinct imprinted in visual gestures. Even if related to words, the choice of colors reflects rather my post-textual feelings: where the text places me mnemonically and emotionally. It’s more about what persist as impression when I forget most of the sentences. The remains of the stories project some visual & spatial identifiers where we can still locate the feelings left when the memory diluted its words. The visual imprints often send me back to the texts I forgot to recapture the feeling. And I do that by painting.

Details & Dimensions

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:35.4 W x 35.4 H x 0.4 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

"After all everyone dances to his own personal boomboom" (Tristan Tzara) Nomadic artist in movement between Paris, Lucca in Tuscany and now based in Berlin, after living in all cardinal points of Europe. Oil is my preferred painting medium for its ability to oppose substantive resistance and challenge my initial choices or instincts by leading me into alternative unintentional combinations and visual textures. My paintings are abstract in the residual sense of escapism: I pursue abstraction as something that eludes my experience or any given experience, something that takes me out of the self and not something that conflates the self into an egotistic paroxysm of any superior knowledge, perception or skill. Painting is an opportunity to encounter beauty as accidentality: unplanned, unpredictable and unconstrained. Yet always in confronting the ambiguity and substantiation of matter. My abstractions are expressive shapes taken by the banality of being, and not at all a deep psychoanalytical style of search for something deeply hidden. I don’t paint to uncover the hidden, but rather to cover up the lack of meaning in a world with no metaphysical prospects or substantive reasons for optimism. And all happens in the circumstances that the temptation for optimism cannot be fully abandoned. My abstractions are visual signs kidnapped from my daily views on the world, combining active optimism and pessimism altogether in what I call a 'romantisme dés-espéré'.

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