Product of a process of integration into the landscape, the artwork “Cosmos” was realised in several stages of physical transformation.
For now, I will mention only the first of them, the rest another time maybe: I initially put a big raw canvas under the vine in my courtyard and I made a gestural drawing following the way in which the leaves shadows were coming down on the canvas, then I gathered the canvas in circles of metal wire and I let it hang for a while in the yard.
Why “Cosmos”? Because the physical making process of the work ressembled somehow — keeping the proportions of the interpretation– to the route leading to the creation of the cosmos. More recently, this work has received a bookish existence. In what sense? “Cosmos” appears in the novel at which Liviu, my future husband, is currently writing, “BirdBlood on Clothes”.
Here is the excerpt: “The term <<vivisection>> was indeed the right word, because everything looked like a knife live dissection of the cosmic space by the hand of a mad demiurge, a cosmic setting split as an animal carcas and held on walls in torn folds. A fresco, an expressionist fresco. She had represented the star clusters through a germinating chaos of drops and disunited stripes, white, blue, green and gray, freed nervously with the brush and stretched and deeply scratched with the knife tip. Scuffling one with the other, describing exploded curves and hot cuts. A map, a destroyed cosmic map. The acute feeling they were having before that scene was that every detail was home to a battle which gave right under their eyes: << As in the sulfuric acid’s composition. And yet, there’s no violence at all. >>, remarks Ulryk. “