URBAN I .   Ulei pe panza,colaj 135 x 192 cm

Oil on canvas, collage

URBAN II . Ulei pe panza,colaj 135 x 192 cm

Oil on canvas, collage

URBAN III . Ulei pe panza,colaj 135 x 192 cm

Oil on canvas, collage

Urban

Motivul declansator al lucrarilor este orasul modern – simbolul unui collage universal, in continua miscare si metamorfoza- cu ritmurile, sincopele sale si decupajele neincetate pe care acestea le opereaza in tesatura continuitatii vizuale, imprastiind in toate sensurile culori si informatii.

Arhitectura, constructie a omului, cadru si scena a existentei umane in genere reprezentata ca o realitate cu efect de constrangere – linii late, negre, fasii brune, retea care scandeaza ritmic planul extins- este transfigurata- pete colorate in forma de dreptunghi, delimitand teritoriul cladirilor, al zonelor diferite – pana la iluzia unei realitati arhitectonice – plutire a formelor arhitecturale, ritmica si dinamica unor miscari dreptunghiulare ascendente sau procesul curgerii lor orizontale.

Litere si cifre disparate, semne abstracte, elemente formale desprinse din multiplicitatea haotica a fenomenelor vietii, folosesc la reprezentarea proceselor irationale din viata cotidiana; sageata – indicator grafic tensional, sugerand procesul in curs de dezvoltare, starea de anxietate, este un simbol plurivalent, cu origini in epoca gandirii magice a artei primitive, caruia in civilizatia moderna ii este rezervat doar un rol rational, de indicator de circulatie.

Prezenta intensitatii psihice si continutului afectiv al figurii umane permite interpretarea fizionomic psihologica, printr-un joc asociativ, spontan de relatii.

Tema copilului, ca forma primara a psihicului, starea psihica clar obscura a copilariei, sugereaza intoarcerea la originea constiintei psihice elementare, spre care se indreapta atat memoria individului cat si a omenirii.

Mijloacele elementare pentru exprimarea  miscarii fizice si psihice sunt suprafata, culoarea si linia, relatiile dintre  structurile de plan si energia gestului.

Structurile  geometrice raman intr-o sfera abstracta. Culoarea nu este aservita formelor in scopul de a le descrie ci are o existenta proprie, supunandu-se legilor plastice, realizandu-se trecerea de la tensiune cromatica spre armonizare. Prin suprapuneri ca si prin corelare, prin tensionare si detensionare a valorilor si calitatilor coloristice, se realizeaza un joc de relatii spatio – temporale.

Culoarea este, in acelasi timp psihic expresiva; tonuri brun intunecate anunta forte chtonice, funeste.

Cu ajutorul colajului si decolajului se realizeaza o fragmentare a compozitiei si, in acelasi timp, o reuniune de forte heterogene de materialitati diferite, atenuate uneori de suprafete de hartie transparenta, de o materialitate discreta.

The theme that gave rise to the works is the modern city, the symbol of an universal collage, in constant motion and metamorphosis, with the rhythms, gaps and the incessant clippings operating in the network of visual continuity, spreading color and information in all directions.

The architecture, human construction, frame and stage of human existence, generally represented as a reality with coercion effect - broad, black lines, brown streaks, grid rhythmically chanting the extended plan - is transfigured - coloured rectangular spots delimiting the buildings territory, the different areas - to the illusion of an architectonic reality - architectural forms floating, the cadence and dynamics  of their ascendant rectangular movements or the process of their horizontal flow. 

Disparate letters and numbers, abstract signs, formal elements detached from the chaotic multiplicity of life phenomena, are used in order to represent irrational processes of everyday life; the arrow - tense graphic indicator, suggesting the developing process, the anxiety, is a polyvalent symbol, with origins in the era of magical thinking of primitive art, which is assigned, in modern Civilization, a rational role of traffic indicator.

The presence of the psychic intensity and emotional content of the human figure allows physiognomic and psychological interpretation, by means of a spontaneous associative combination of relations. The theme of the child, as the primary form of psyche, the chiaroscuro mental state of childhood, suggests a regression to the basic psychological origin of consciousness, toward which are moving both individual and mankind memory.

The elementary means for expressing physical and mental movement are surface, color and line, the relations between the plan structures and the energy of gesture.

The geometric structures remain in an abstract sphere.  Color is not subservient to forms, in order to describe them, but it has its own existence, complying with the laws of aesthetics, achieving the transition from chromatic tension to harmonization. By overlapping, as well as through correlation, by tension and stress relieving of color qualities and values, a combination of space-time relations is developed.

The color is, at the same time, physically expressive; dark brown tones announce chthonic, funest energies.

Using collage and decollage, the composition is fragmented, while heterogeneous forces of different consistencies aggregate, attenuated sometimes by the discrete materiality of transparent paper surfaces.

INDEMN LA CAUTAREA INTELEPCIUNII ulei pe panza60 x 80cm

EXHORTATION TO EMBRACE WISDOM  oil on canvas 60 x 80 cm

INDEMN LA CAUTAREA INTELEPCIUNII II ulei pe panza60 x 80cm

EXHORTATION TO EMBRACE WISDOM II oil on canvas 60 x 80 cm

 PORTRETUL MAMEI I ulei pe panza 50 x 60 cm

 MOTHER'S PORTRAIT I oil on canvas 50 x60 cm

 

 PORTRETUL MAMEI II ulei pe panza 50 x 60 cm

 MOTHER'S PORTRAIT II oil on canvas 50 x60 cm

BREENDONK

 

                          

 

BREENDONK 1 Tehnica mixta pe hartie 23 x 34 cm

BREENDONK 1 Mixed media on paper 23 x 34 cm

BREENDONK 2 Tehnica mixta pe hartie 26 x 34 cm

BREENDONK 2  Mixed media on paper 26 x 34 cm

BREENDONK 3 Tehnica mixta pe hartie 26 x 34 cm

BREENDONK 3  Mixed media on paper 26 x 34 cm

BREENDONK 4 Tehnica mixta pe hartie 26,5 x 34 cm

BREENDONK 4  Mixed media on paper 26,5 x 34 cm

BREENDONK 5 Tehnica mixta pe hartie 24 x 34 cm

BREENDONK 5  Mixed media on paper 24 x 34 cm

BREENDONK 6 Tehnica mixta pe hartie 24 x 34  cm

BREENDONK 6  Mixed media on paper 24 x 34 cm

 

BREENDONK 7 Tehnica mixta pe hartie 24 x 34 cm

BREENDONK 7  Mixed media on paper 24 x 34 cm

BREENDONK 8 Tehnica mixta pe hartie 24 x 34 cm

BREENDONK 8  Mixed media on paper 24 x 34 cm

BREENDONK 9 Tehnica mixta pe hartie 24 x 34 cm

BREENDONK 9  Mixed media on paper 24 x 34 cm

BREENDONK 10 Tehnica mixta pe hartie 29,5 x 42 cm

BREENDONK 10  Mixed media on paper 29,5 x 42 cm

BREENDONK 11 Tehnica mixta pe hartie 29,5 x 42 cm

BREENDONK 11  Mixed media on paper 29,5 x 42 cm

BREENDONK 12 ( schita )Pastel pe hartie 29,5 x 42 cm

BREENDONK 12 (sketch ) Pastel on paper 29,5 x 42 cm

BREENDONK 13 Tehnica mixta pe hartie 24,5 x 35 cm

BREENDONK 13  Mixed media on paper 24,5 x 35 cm

  

 

BREENDONK 14 Tehnica mixta pe hartie 23 x 34 cm

BREENDONK 14 Mixed media on paper 23 x 34 cm

BREENDONK 15 Tehnica mixta pe hartie 29,5 x 42 cm

BREENDONK 15  Mixed media on paper 29,5 x 42 cm

BREENDONK 16 Tehnica mixta pe hartie 29,7 x 42 cm 

BREENDONK 16  Mixed media on paper 29,7 x 42 cm 

Amprenta unor locuri si oameni

Putine locuri te pot impresiona atat de mult, incat sa percepi sincronic trecutul. Breendonk. O fosta fortareata , un lagar de concentrare , in final  muzeu, condenseaza in interiorul lui memoria spatiului. Un loc  in care vocile si chipurile schimonosite de durere ale detinutilor te insotesc. Un trecut colectiv, o etalare a fatetelor diferite ale psihicului... invadator si invadat, un loc inaccesibil celor care refuza sa-si asume istoria omenirii. L-am ales printre alte zeci de muzee fascinante ale Belgiei, Muzeul Memling in Brugge, Muzeul Regal de Arta din Antwerpen, PmmK din Oostende, cat si muzee si expozitii retrospective ale artistilor dragi mie: Ensor, Spilliaert, Permeke, Pierre Alechinsky, Karel Appel, Corneille, Panamarenko.

Footprint of places and people

Few places are so impressive, that one can synchronically perceive the past. Breendonk. A former fortress, a concentration camp, eventually museum condenses inside the memory of the space. A place where voices and faces distorted by pain of prisoners haunt you. A collective past, an exhibition of different facets of the psyche...invader and invaded, a place inaccessible to those who refuse to assume history. I have chosen it among dozens of fascinating museums of Belgium, Memling Museum in Bruges, the Royal Museum of Fine Arts in Antwerp, Pmmk of Oostende, museums or retrospective exhibitions of artists close to my heart:   Ensor, Spilliaert, Permeke, Pierre Alechinsky, Karel Appel, Corneille, Panamarenko