Back in 2012 I realized my first big airbrush painting, “The Three Ages”
Don’t move ! Flash !
“Flash” was intended as a purely abstract painting.
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
Product of a process of integration into the landscape, the artwork “Cosmos” was realised in several stages of physical transformation. Continue reading
has its roots in the disgust caused by excessive intimacy with the self, a self that doesn’t stand itself.
The desire to get to the surface of its depth results in some
“realities of live being, that are rebuild every moment, that connect one day to the other, throwing bridges over gaps, over amorphous states and irretrievable absences”
(Lucian Raicu, “Reflections of the Creative Spirit”).
The slightly shocking character (even for me) of these paintings does not seek to support the proclamations of Andre Breton, that
“beauty will be convulsive or will not be at all”,
instead itseeks to portray those remains of personal seizures, which – not without surprise – we discover that we share with everyone else.
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”.
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.
For me, “Traffic” is like a contemporary carpet, seemingly woven at the loom of the crowded streets, in the infernal sound of the engines. But there is a draw back: make yourself as small as a Tin Soldier and imagine the congestion that’s seen at rush hour, with plastic eyes, on board of a toy helicopter.
Technical Note: there are sketches inserted on the back of the canvas, which has been cut for this specific purpose.