LINES
Dominatedby a fever of lines,theseries of abstract paintings “LINES”could becharacterized by the very definitiongiven by Michel Seuphor to abstractionism: "Apainting should be called abstract when we cannot recognize any ofthe objective reality which consists our lives'normal environment; in other words, a painting is abstract as soon aswe are obliged, by the absence of any sensible reality,to consider itas paintinginitself, tojudge itby virtue of valuesextrinsic to anyrepresentations or any remindersof the representation."(owntranslation)
Hatredagainstwords who donot help me isgreater,asI have no possibilityto punish them for their disobedience. Therefore, sometimes, Italk in “lines”...
Dominatedby a fever of lines,theseries of abstract paintings “LINES”could becharacterized by the very definitiongiven by Michel Seuphor to abstractionism: "Apainting should be called abstract when we cannot recognize any ofthe objective reality which consists our lives'normal environment; in other words, a painting is abstract as soon aswe are obliged, by the absence of any sensible reality,to consider itas paintinginitself, tojudge itby virtue of valuesextrinsic to anyrepresentations or any remindersof the representation."(owntranslation)
Hatredagainstwords who donot help me isgreater,asI have no possibilityto punish them for their disobedience. Therefore, sometimes, Italk in “lines”...
TRAFFIC
mixedtechnique on canvas, 120x 100cm, 2011
"Traffic"is like acontemporary carpet, seeminglywoven at the loom of the crowdedstreets, inthe infernalsound of the engines. But there is a draw back: make yourselfas small asa Tin Soldier andimagine the congestion that'sseen at rushhour, with plastic eyes, on board ofa toy helicopter.TechnicalNote: thereare sketchesinserted onthe back ofthe canvas, which has been cut for this specific purpose.
mixedtechnique on canvas, 120x 100cm, 2011
"Traffic"is like acontemporary carpet, seeminglywoven at the loom of the crowdedstreets, inthe infernalsound of the engines. But there is a draw back: make yourselfas small asa Tin Soldier andimagine the congestion that'sseen at rushhour, with plastic eyes, on board ofa toy helicopter.TechnicalNote: thereare sketchesinserted onthe back ofthe canvas, which has been cut for this specific purpose.
SLEEPING CIRCLES
mixedtechnique on paper, 70x 100cm, 2005
Theartwork "SleepingCircles"is one of my first abstract attempts, the forerunner stage of manyfuture searches into abstractionism. It was born after the returnfrom a residence at Hope University in Liverpool and after visitingLondon, two cities whose color fervor was a shock to me at that time.The materials used are acrylic, string and tracing paper.
mixedtechnique on paper, 70x 100cm, 2005
Theartwork "SleepingCircles"is one of my first abstract attempts, the forerunner stage of manyfuture searches into abstractionism. It was born after the returnfrom a residence at Hope University in Liverpool and after visitingLondon, two cities whose color fervor was a shock to me at that time.The materials used are acrylic, string and tracing paper.
SLEEPING CIRCLES
mixed technique on paper, 70 x 100 cm, 2005
The artwork "Sleeping Circles" is one of my first abstract attempts, the forerunner stage of many future searches into abstractionism. It was born after the return from a residence at Hope University in Liverpool and after visiting London, two cities whose color fervor was a shock to me at that time. The materials used are acrylic, string and tracing paper.
mixed technique on paper, 70 x 100 cm, 2005
The artwork "Sleeping Circles" is one of my first abstract attempts, the forerunner stage of many future searches into abstractionism. It was born after the return from a residence at Hope University in Liverpool and after visiting London, two cities whose color fervor was a shock to me at that time. The materials used are acrylic, string and tracing paper.
FUGUE
acrylicon paper,100 x 70 cm, 2008, framed
WhenI presented this artworkatthe National Opera of Bucharest, a visitor asked me withplentyof satisfaction,ashe presumed tohave guessed the hidden intentions behind the painting "Fugue":<< This is the map of Romania, is itnot? It'sthe West-Eastaxis ! >>. I have not disappointed him,on the contrary. I want to share with you what I did not foresee, butthismaybe not sofar from the truth ofthelines,whichfor me werejusta "fugue".Coincidentally, the work is painted in Budapest and without theslightest "patriotic nostalgia."
acrylicon paper,100 x 70 cm, 2008, framed
WhenI presented this artworkatthe National Opera of Bucharest, a visitor asked me withplentyof satisfaction,ashe presumed tohave guessed the hidden intentions behind the painting "Fugue":<< This is the map of Romania, is itnot? It'sthe West-Eastaxis ! >>. I have not disappointed him,on the contrary. I want to share with you what I did not foresee, butthismaybe not sofar from the truth ofthelines,whichfor me werejusta "fugue".Coincidentally, the work is painted in Budapest and without theslightest "patriotic nostalgia."
LINEPRISONER
acrylicon canvas, 45 x 30 cm, 2008
Anetwork of light. You can try to remakethe reverse route, detaching each line separately. You'll neversucceed, because you're already in their midst.
acrylicon canvas, 45 x 30 cm, 2008
Anetwork of light. You can try to remakethe reverse route, detaching each line separately. You'll neversucceed, because you're already in their midst.
