I worked on this painting in my 38th and 39th weeks of pregnancy, waiting for Meira, my first daughter, to be born. Today I finished this painting dedicated to her, but she still doesn’t seem decided to jump into the world.
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De multă vreme am ajuns să consider mare parte din schițele realizate în trecut (în perioada 2002 – 2012) ca fiind o materie și materiale ce trebuie digerate și reintegrate într-un circuit prezent de creație. Selecția acestora și timpul petrecut studiindu-le, analizândule, sau doar pur și simplu observându-le, depozitându-le și restaurându-le a înlocuit de fapt orice act prezent de creație cu o ștergere minuțioasă a amintirilor. Amintirea, ca apofantică, are întotdeauna o acțiune recursivă, raza ei se întinde asupra vieții mele actuale, ea este o intruziune în viața mea. Reutilizarea acestor schițe ar fi o curățire lăuntrică ce mi-ar da posibilitatea să renasc în și prin propria creație, dar nu ar fi propriu-zis o ștergere, cât un amplu proces de reparație și de petrecere a timpului.
Every year, at the beginning of June, the Harilaq Art Festival (organised by the Municipality of Fushe Kosova and Muhamet Metis ) takes place near Prishtina, Kosovo. The Harilaq fortress is situated on top of the hill known by the local toponomy as the Gradina – Harilaq. It is built on the remain of an earlier prehistoric settlement, attested by the archaeological findings. Continue reading
a recent self-portrait that I have realised,
was selected for the International Painting Biennial of Chișinău 2015,
an event organized under the patronage of the
Ministry of Culture of Republic of Moldova in the
“Constantin Brâncuși” Exhibition Center in Chișinău.
“The smallest chip
of a glass or a cup
can recall the happiness of a great memory Continue reading
„Waste – first stage” is not only a contradictory paraphrase of the pedagogical methods to teach the realization of Still Lives, but it is also a personal system through which household items are translated into the language of abstraction. Relying on conventional painting techniques and operating with consumer objects, I am searching, at the border of the imperceptible world, for that flashing life within objects, that pulsation or stillness, that intermediate life between animal and object, that shadow or that reflection, “that mysterious element which is animal a few hours of the day and only under the action of light “(Odilon Redon,” Journal “). Continue reading
“Charlie Chaplin once told Jean Cocteau that after the film will be finished <<the tree must be shaken>> in order to keep only what remains on the branches”. (Rudolf Arnheim, “Art and visual perception”, own translation)
The “LUDUS” project was developed during 2009 in an effort to ignore, in relation to the aesthetics, this principle of parsimony. It is also evidence of a certain age in my painting, an age at which I will probably never return. Age at which we want to eat all the apples and never shake one tree.
Apparently a number of leading threads, of hidden stories, and yet no, the story never begins. In „Ludus” the only importance lies in the joy of storytelling.
What unites these elements are precisely their differences in spatial planes, in artistic structure and in their intent of autonomy, thus generating a variety of irrational conflicts.
As a mention, all these paintings have been realised after live models (including myself), and not after photographs. The models ranged from people I barely knew to friends I’ve known for a long time. During the painting sessions I have always asked them to talk a lot, thus their words highly influenced my figurative initial compositions. I thus consider these models to be secondary authors of these works.
In the following posts I will upload more paintings from the “LUDUS” series. Stay tuned and let me know what you think !
Also, as some of you might have seen, yesterday I tried to upload a sort of interview form, in order to start promoting artists that I like. It didn’t work, but I’ll fix it asap.
“The Thought of Lady M.” was realised in February 2012. I used a mixed technique, combining washable pastels, acrylics, oil colours, paper, wool, thread, all on a 80 x 60 cm canvas. It is available for sale at the price of 230 EUR(shipping not included.)
A nocturnal atmosphere, in which each forehead hides a consciousness that cuts and cuts and cuts, like a guillotine blade. Everything exhales complicity and exhaustion. Each character stays silent and keeps hidden under its tongue, a black and wild thought, like a young mouse, a “corpse” who refuses to become word. Therefore, we are, somehow, in a dostoievskian situation, because each person buries behind its mimic a fault which does not fit elsewhere than in unspoken thoughts …
There is one character in the painting who knows that any guilty man plays with the snakes, with some snakes that only he can see. Guess who is it?
<<In what concerns the “Germination” series – beyond the almost premonitory sensitive character of the line, and the wild effect of carnal architecture in decay–, what especially attracts our attention is Maia Oprea’s capacity to maintain irreconcilable painting styles in proportion of structural balance. These are usually looking to exterminate each other when put “face to face”.>>
The “Germination” series is composed of five individual canvases, standing for themselves, which are based on the same inner form. Most important for me has been to reach the climax of the fight given to create, at the same time: a possible modular structure that could be perpetuated indefinitely and a sequence in which these so-called modules remain completely embedded in the whole that contains them, without their independence being affected.
The current set is the result of a fiery war –which I attended as an active spectator – and the countless transformations occurring during work. What I had initially proposed myself was almost meant not to reach a purpose, and not infrequently I was afraid that if I add anything else, the canvas will be destroyed.
The first artwork of the „Births” cycle – the one that also stands for the title – is a self-portrait in shadow, also remains the most intimate one. Through its visceral feeling, its vulnerability. As a cry for power and of solemn weakness.
In the introduction of the book „The Life of Forms”, which profoundly influenced me theoretically, Henri Focillon writes:
„The old antinomies, spirit-matter, matter-form, obsess us with the same authority with which the antique dualism of form and contentis obsessing. Even though some slight trace of signification or commodity still persists in these antitheses of pure logic, whoever wants to understand what is happening in the life of forms must begin by liberating oneself from them”.
This specific time-frame (from a certain spiritual impulse to the impoverishmentof the formal matter resulted from the reproduction of this impulse into space) has been determined by the capacity with which I was able to freely movewithin the interior of this inner environment, imposing myself the abidance by a sincerity towards myself, that I consider being one of the most severe and tormenting rules of creation: intactly preserving the abisality of the primary sensation, by suppressing the tentation to repeat the form of that abisality through the same thematical variation on the respective form.
Although during my past I have taken on doing over certain themes or painting compositions, it is now the first time that a form has imposed as a profound obsession, giving rise to a life in motion, within a world that is transforming along with it. I must admit, it was hard for me to part from this obsessive form, but my wish was to immortalize the various development phases of something that could have represented a possible manner, thus hindering the birth of a formula, that is to say of a sudden interruption.