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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.
A couple of months ago I was commissioned by someone I have never met or seen in photographs, to realize a painting on the theme of “happy parents”. Continue reading
During the month of August my artwork “Hunger” will be on view at the “Human Rights” exhibition 2013.
“Hunger” has its roots in the disgust caused by excessive intimacy with the self, a self that doesn’t stand itself. It brings about the right of desiring to get to the surface of one’s depths, confronting with the “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”). Seeking to portray the remains of personal seizures, “Hunger” also talks about the right to Self expression. Continue reading
Don’t move ! Flash !
“Flash” was intended as a purely abstract painting.
A good friend asked me to create a portrait from a photo representing three generations : grandfather, father and grandson. Continue reading
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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 !
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.
“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 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.