Maia Stefana Oprea


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TRACES

I never made it to the top of the mountain.  Vercors mountains, Grenoble,  December 2011

Traces  lithograph and photo project :

Traces, lithograph on paper, 26 x 22 cm, 2011

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Allegro

Temple I,   ink on paper, 100 x 70 cm, 2009

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A Rainy Afternoon

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When I lived in Alexandru Lahovari plaza (one of the old historical centers of Bucharest), I saw this landscape, this bestial skirmish of shadows and lights, an afternoon rain pattering across the rooftops.

It was somehow raining with sun that day, it was that kind of rain that awakens a huge metal excitation in the surrounding colours …

This gallery contains 3 photos

"COSMOS", mixed technique on canvas, 123 x 145 cm, 2009


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COSMOS

"COSMOS",  mixed technique on canvas, 123 x 145 cm, 2009

Product of a process of integration into the landscape, the artwork “Cosmos” was realised in several stages of physical transformation. Continue reading


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How does she move ?

Reading Alberto Giacometti’s book of notes “About the Irrational Knowledge of the Object”, I felt more and more the need to transform a sculpture into one active entity. Continue reading


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Ludus – AUTISTIC SELF

My shadow put its hand over my mouth and whispered:

        “Do this, do so!”  Continue reading


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” A is to B as C is to D “

detail of TI MATIFirst of all, I invite you to view the video related to this project:

Here you can find the english translation for the video: a b c translation  Continue reading


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RO’46

RO’46, oil on canvas, 100 x 120 cm, 2009

The character in the painting “RO’46” is called Uncle ‘Joe and fills quite a slice of reality. Uncle ‘Joe was born in 1946, and is now unemployed. But before he became unemployed, Uncle ‘Joe was certainly the best and the most expressive live model of the National University of Arts in Bucharest. No, “RO’46” has no anti-capitalist message. No, “RO’46” is not a left-wing approach. There is pity on this character, but on him as a person and not as a potential ideological archetype. Anyway… in “RO’46” I tried to capture the exhaustion of a man who will leave behind as legacy what putrefaction itself leaves behind: a pile of bones. In this case, a pile of bones that once made a flawless skeleton, the visual “food” of generations of visual artists.

I drew hundreds of sketches after this model, but I consider them  only simple anatomically correct drawings. Over the years (I know him since 7 years) I felt at times I couldn’t just exercise my technical abilities on him. These works may be the few exceptions left :

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Ludus- THE AESTHETICS OF RISK

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This artwork is also part of the LUDUS series of works (https://maiastefanaoprea.wordpress.com/2012/06/04/ludus/)

The title belongs to a book frighteningly bushy. The book can be seen, white and avid to puzzle its reader, on the top shelf. Otherwise, the entire expressionist deflagration is inspired by the famous cynical and hallucinating dystopia of Pascal Bruckner, the “Divine Child” and Simone de Beauvoir’s novel, “All Men are Mortal”.

The Aesthetics of Risk, acrylics on canvas, 140 x 90 cm, 2009, available for sale

In other words, the painting “Asthetics of Risk” is an artistic setting of acute impressions of reading. If you wish, it’s a compendium of image reviews, in which imposes  the echo still going through changes after reading, and not the critical verdict.


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Ludus – “THE ISLAND OF ANOTHER”

” The Island of Another “, oil on canvas, 100 x 140 cm, available for sale, 2009

The word island from the title represents the island of a novel written by a French writer, on which the Internet does not provide much information, besides the fact that he is still alive and that his work can easily fit into four suitcases. It’s about “The Island of Another”, of the unmistakable Jacques Perry.

There is neither time nor place for a summary of the book, but I advise you to put your hands on this stunning novel, a true masterpiece of loneliness!

The painting “The Island of Another” illustrates one of the novel’s themes: the double duplication.

A storm forced the hero of Jacques Perry to dock in the evening on an island. He finds shelter between the walls of a house whose owner is away, and while exploring so deeply the existence of the owner, without realizing it, he duplicates into the life of the other .

In other words, the characters in the painting “The Island of Another” experiment what G. Bachelard called the dual status of duplication.