Maia Stefana Oprea

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 …

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INSOMNIA

        The “Insomnia” triptych is also part of the ” Sleeps” series of paintings.

They are part of those paintings that I start very intuitively, and they end up face to the corner of the studio for years…I think I’ve started it in my first year at the Bucharest Arts University, and I’ve only now reconsidered it, three years after the first painting session.  Funnily enough, I’ve had to change my location 3 times during these years, and the three paintings have followed me, up on the stairs, down on top of the car, and so on … it is very tough to resist the temptation of ‘finishing’ a painting for such a long time. And yet, as I waited and waited, I realised it was almost finished, it had finished itself during these relocations and daily corner life.


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SLEEPS


 The series “Sleeps” is a pictorial investigation centered on sleep, as the title indicates. But not the
sleep as the mind bridge to the world of dreams, but rather as a form of alienation of the being from the flow of the world.
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“Germination” painting series

<<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.

Germination series in perspective

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. 

Germination series on view at Melenia Art Gallery 2011


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Births

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.

BIRTHS, mixed technique on canvas, 120x100cm, available for sale at 1056 EUR

BIRTHS, mixed technique on canvas, 120x100cm, available for sale at 1056 EUR

When I realised this project, I believed that the „Births” cycle represents a new age of my painting. In addition to what concerns the crystallization of my chromatic instincts and the dynamic compositions, it stands as a radical affirmation of an inner burning that descends into depth and comes from the depth. This inward combustion was meant to expose the interior through an explosion of the form. Therefore, I myself assisted at the birth of a language (extremely personal and intentionally without conceptual „air-bag”!): the form escapes from the empire of fantasy – that being from the „institution” of symbol ! -, unchaining a self-devouring confrontation with its own vitality. However, never devouring itself. I was looking for the restauration of an instant that cannot anymore organize oblivion.

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.

In the next posts I will show you my other works from the “Births” cycle. You can also download the pdf.version I have made for the exhibition of these works at Melenia Art Gallery (http://www.meleniagallery.com/)  in November 2011 :

BIRTHS


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Hello Everyone

Hello everyone,

I am a young Romanian artist, currently living and working in Bucharest, Romania. After pursuing my fine arts studies in the quiet Savannah (Georgia), on the east coast of the United States of America, followed by a great encounter with the french Alps in Grenoble, I am now finishing my painting bachelor at the Bucharest National Arts University.

Over the years I have undertaken projects in many different medias and techniques (such as video art, photography, graphic arts, sound art, art in public spaces), but I am nevertheless committed to what one would consider being the “traditional” arts, mainly those of painting, drawing, engraving and sculpture. For the moment I am going back and forth between contemporary approaches and traditional subjects . My paintings are usually the result of a fiery war, which I attend as an active spectator, and of the countless transformations occurring during work. What I often propose myself is almost meant not to reach a purpose, and not infrequently I am afraid that if I add anything else, the canvas will be destroyed. This makes me think of something I have read in the notes written by an artist I very much appreciate, the italian sculptor Alberto Giacometti : „ This is not to realise the vision I have of things, but to understand why we fail. (…) I’m indifferent to the difference between a successful and an unsuccessful thing. A successful painting, a failed painting, a successful drawing, a failed drawing , this doesn’t mean anything. The failure is of interest to me just as much as the success.” I wanted to share this with you because it somehow states what I consider will remain forever my conviction, mainly that the importance lies in the working process, and not in the finality of the art object.That my art will change according to my life, and the different styles as well, trying to remain as sincere as possible towards my art.

Having that in mind, I let the paintings speak for themselves.

As a mention, all my artworks are for sale.