Maia Stefana Oprea


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Tablets/ Tăblițe

[ EN]  IN-TRIGÂ BOOKCASE. Tablets are created and organised according to several themes that correspond to the words of my personal dictionary: PAPER, LINE, DEATH, STONE, SKIN, REALITY, SENSATION, DUST.

TABLETS are hieroglyphs of my studio life / mental structures that oscillate between book and paintings / tool-containers. A tablet can be viewed, read, touched, smelled, and involving the viewer’s body. The tablets have two sides: image (sketch / photo) and quote (writing / photo). Several tablets are organized into bookcase bodies and correspond to the structure of the Big Trigâ Dictionary. A tablet involves: stirr-ing, sift-ing, stor-ing, preserv-ing, prim-ing, lock-ing, stack-ing, sand-ing, transferr-ing, cutt-ing, wett-ing, dry-ing , us-ing. On the one hand, I selected and cut my old artistic sketches, which I transferred to the tablet support, and on the other I proceeded by a similar selection and adjustment, respectively, of the quotations extracted from past and present.

Below are some of the over eighty tablets that make up the installation

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sketch for a future ‘skin’ tablet


[RO]  BIBLIOTECA IN-TRIG . Tăblițele sunt create și organizate în funcție de mai multe tematici ce corespund cuvintelor dicționarului personal: HÂRTIE, LINIE, MOARTE, PIATRĂ, PIELE, REALITATE, SENZAȚIE, ȚĂRÂNĂ.

           TĂBLIȚELE sunt hieroglife ale vieții de atelier / structuri mentale care oscilează între carte și pictură / unealtă-container. O tăbliță poate fi privită, citită, pipăită, mirosită și implică corpul privitorului. Tăblițele au două fețe: imagine (schiță / foto) și citat (scris / foto). Mai multe tăblițe sunt organizate în corpuri de bibliotecă și corespund structurii Marelui Dicționar al Trigii. Tăblița implică: amesteca-re, cerne-re, chitui-re, conserva-re, grundui-re, lăcui-re, stivui-re, șmirghelui-re, transfera-re, tăie-re, uda-re, usca-re, uza-re. Pe de o parte am selecționat și tăiat vechile mele schițe plastice, pe care le-am transferat pe suportul tăbliței, iar pe de alta am procedat printr-o selecție și ajustare asemănătoare, respectiv a citatelor extrase cu din lecturile trecute și prezente.

Mai jos sunt o parte din cele peste optzeci de tăblițe din biblioteca In-Trigâ


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APOLO ART COLONY – ALBANIA 2013

During September I attended the Apolo Art Colony in Albania, held close to the city of Fier, somewhere in between a forest and the seashore.  My travel to Albania was quite adventurous: armed with much Ismail Kadare, I flew to Bari (Italy) and from there I crossed the Adriatic Sea. Some of the paintings are the result of this troubling night spent in the middle of the Adriatic.

1233518_10153256684065640_1530047749_n Continue reading


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Silent space

“Sunt un bolovan cenuşiu; nu am alte calităţi

Visez, împietrind visele pe care singur mi le aleg. “

( Alain Bosquet)

 

I am a gray boulder, I have no other qualities
Dreaming, hardening the dreams that I choose alone.

For sale on :

http://www.saatchionline.com/art/Painting-Silent-Space/43191/1765999/view

http://www.maia-fine-art.com/?theme=Figurative

 


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Without Witness

Within the structure of an artwork, the truth and the false, the righteous and the injustice, the pain and the pleasure, the calm and the violence, they all become aesthetic categories. In their new artistic context even cruelty, inequality, Continue reading


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Of after…

Two ink washes I’ve realized during last summer.

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“Of After”, ink on paper, 2012

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STEP BY STEP – charcoal portrait

If you wish to see step-by-step photos with future works,

along with technical observations,

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A friend of my boyfriend’s sister had a dream that involved him being portrayed.

I hope I’ve fulfilled it for a little while !

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Sibilants

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HAPPY NEW YEAR 2013 !

During the last couple of years I struggled with an issue which may be concerning many young artists:

 WHAT SHALL I DO WITH ALL MY PAST SKETCHES,

DRAWINGS AND PAINTINGS ?  

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Many years ago the answer lied in the garbage,
but I realised one can never be certain whether
a tiny sketch is good at all, or extremely bad ?

       I invite you to see two of the series of works made from such diverse sketches : 

COLLAGES OF OLD SKETCHES

  MIGRATIONS

     It took years until I could ‘sift’ my past drawings, while keeping them all in storage for future reference. Having the tendency to refer only to the quality of  a drawing, to its perceptual intensity, I had forgotten the importance of the memories which gave birth to all these sorts of life sketches. Although I’m generally more than happy to throw any object whatsoever, it became impossible to throw bits of myself filtered through drawing. Continue reading