{"id":12,"date":"2019-08-05T14:05:09","date_gmt":"2019-08-05T14:05:09","guid":{"rendered":"http:\/\/www.teofilioanstiop.ro\/?page_id=12"},"modified":"2020-05-24T12:50:50","modified_gmt":"2020-05-24T12:50:50","slug":"picturi","status":"publish","type":"page","link":"http:\/\/www.teofilioanstiop.ro\/en\/picturi\/","title":{"rendered":"Paintings"},"content":{"rendered":"

Cornucopia is the generic name representing the series of paintings where, in the frame already structured by the former series, is introduced the subject, the human character. In this case, the scene that the characters enter is characterized by an abundance of the carnivalesque, more exactly by confetti clusters that flood the whole reality. That excess of merriment gradually slides from trivial happiness to orgasmic ecstasy. It overflows through various portals, like theatre scenes, kite parades or mindless merry-go-rounds, convulsively menacing with the dissolution of the human subject.<\/p>\n\n\n\n

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Happy End<\/figcaption><\/figure>\n\n\n\n
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Last stand<\/figcaption><\/figure>\n\n\n\n
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Cornucopia<\/figcaption><\/figure>\n\n\n\n
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Entropic Delight<\/figcaption><\/figure>\n\n\n\n
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Offspring<\/figcaption><\/figure>\n\n\n\n

Grouped under the syntagma of Slide Show is a series of paintings whose subjects are zoomorphic elements inserted in frames that evoke various forms of informational \u201cjamming\u201d. The contexts where the subjects are placed are populated with sedimentary paper residues of many types: dossier archives, bundles of compacted newspapers, heaps of fragments from media articles, mounds of origami, piles of money. Besides the post-apocalyptic dramatism on display, the quantity of information that is presumed to be here has only a theatrical, a decorative value, just as the pathetic subjects that derive from it. The reason of placing them in the frame is that of revealing the nature perverted by the show business, the insidious cohabitation of the entertainment with the manipulation, of the naivety with the cruelty.<\/p>\n\n\n\n

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Wireless<\/figcaption><\/figure>\n\n\n\n
\"Leviathan\"<\/a>
Leviathan, 2017<\/figcaption><\/figure>\n\n\n\n
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Feedback with Calypso<\/figcaption><\/figure>\n\n\n\n
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Palantir<\/figcaption><\/figure>\n\n\n\n
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Firefox<\/figcaption><\/figure>\n\n\n\n
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Activism<\/figcaption><\/figure>\n\n\n\n
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Wallpaper<\/figcaption><\/figure>\n\n\n\n

In the series of paintings entitled fRAMe, the viewer\u2019s attention is directed towards a series of objects belonging to the contingent reality, which are represented by the notion of frame. Thus, the frame or chassis of the painting, the windows or the library shelves represent leitmotifs that conjugate with subjects designed as symbols of passage \u2013 here, through the frame \u2013 such as the sailing ship, the windmill, the book or the painting. Decommissioned, discarded and stored away, the objects of the series, in their junction with the subject, change their semantic nature, producing new relics of the present time. Therefore, the pile of windows, the heap of paintings or the mound of books invite the viewer to read meanings that surpass the limits of the represented objects and move the accent from them to their new context, more and more obviously defined by the parameters of the digital world.<\/p>\n\n\n\n

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Melancholia<\/figcaption><\/figure>\n\n\n\n
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Windows<\/figcaption><\/figure>\n\n\n\n
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Archive I<\/figcaption><\/figure>\n\n\n\n
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Windows II<\/figcaption><\/figure>\n\n\n\n
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Archive II<\/figcaption><\/figure>\n\n\n\n
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Navigator<\/figcaption><\/figure>\n\n\n\n
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Anti Virus Guard<\/figcaption><\/figure>\n\n\n\n
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Library<\/figcaption><\/figure>\n\n\n\n

ARS dantesca combinatoria<\/strong><\/p>\n\n\n\n

Proiectul are un caracter ermetic \u0219i poetic, la fel ca punctul s\u0103u de plecare, poemul Divina Comedie a lui Dante Alighieri  \u00een care se pl\u0103smuie\u0219te sub form\u0103 alegoric\u0103 o c\u0103l\u0103torie a sufletului dup\u0103 moarte. Aici punctul de plecare este iconografia poemului dantesc, lucr\u0103rile fiind create pe baza simbolurilor \u0219i semnelor plastice care l-au ilustrat de-a lungul timpului. Elementele sunt preluate sub form\u0103 de material brut, ele fiind combinate, interpretate \u0219i recontextualizate \u00een compozi\u021bii de sine st\u0103t\u0103toare.

Proiectul a fost desf\u0103\u0219urat la Moara R\u0103s\u0103rit din Oradea, un spa\u021biu care deservea, \u00eenainte de a fi convertit \u00een spa\u021biu cultural, ca moar\u0103 de f\u0103in\u0103. El a fost prezentat sub forma unei instala\u021bii care con\u021binea trei paliere care comunicau \u00eentre ele at\u00e2t prin form\u0103 c\u00e2t \u0219i prin con\u021binut. Primul palier, prezentat la parter, era format din trei lucr\u0103ri cu dimensiunea de 120 x 200 cm realizate \u00eentr-o tehnic\u0103 \u00een care se combin\u0103, grafica digital\u0103 cu pigmentul sub form\u0103 de praf. Al doilea, intermediar, era desemnat de o proiec\u021bie video prezentat\u0103 tot la parter, dar \u00een care se ar\u0103ta un film document despre cum a fost realizat ceea ce urma s\u0103 apar\u0103 la etajul superior. Al treilea palier, prezentat la etajul I, era constituit din 18 lucr\u0103ri, dispuse pe trei r\u00e2nduri, fiecare cu dimensiunea de 102×72 cm.

Maniera \u00een care au fost realizate aceste lucr\u0103ri combin\u0103 grafica digital\u0103 cu tehnica picturii cu fum, denumit\u0103 \u00een mod generic, fumage<\/em>. Toate lucr\u0103rile au fost prezentate spa\u021bial, non parietal iar constitu\u021bia lor era semi-transparent\u0103, de tip camuflaj. \u00cen acest mod privitorul intr\u00e2nd \u00een c\u00e2mpul vizual al proiectului a putut interac\u021biona cu lucr\u0103rile. De asemenea, caracterul perisabil al tehnicilor folosite \u00eei putea permite privitorului \u0219i s\u0103 intervin\u0103 asupra suprafe\u021belor, nici praful colorat, nici fumul nefiind fixat, acestea put\u00e2ndu-se reconfigura sau distruge \u00een urma atingerilor succesive.
Astfel, baz\u00e2ndu-se pe posibila transformare a privitorului pasiv \u00een vector activ, mesajul proiectului era legat, mai departe, de transformarea unui instrument, sau a unei metode de lucru, \u00eentr-o metafor\u0103 plastic\u0103, scopul s\u0103u fiind metamorfoza unui atare ars<\/em> \u00eentr-un altfel de art<\/em> printr-un joc combinatoriu. \u00cen concluzie, spa\u021biul fostei mori, a devenit, pentru scurt timp, scena unui teatru \u00een care se rejuca eterna pies\u0103 a mor\u021bii \u0219i rena\u0219terii. <\/p>\n\n\n\n

Proiectul fiind dezvoltat \u00een cadrul cercet\u0103rii mele doctorale, este explicat pe larg \u00een cartea mea publicat\u0103 \u00een 2016,  Imagine \u0219i transtextualitate. Incursiune \u00een iconologia dantesc\u0103<\/em>.<\/p>\n\n\n\n

<\/p>\n\n\n\n

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ARS-I-detaliu<\/figcaption><\/figure>\n\n\n\n
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ARS-I-fragment<\/figcaption><\/figure>\n\n\n\n
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ARS-II-captura-de-ecran<\/figcaption><\/figure>\n\n\n\n
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ARS-III-detaliu<\/figcaption><\/figure>\n\n\n\n
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ARS-III-fragment<\/figcaption><\/figure>\n\n\n\n

Gr\u0103dini \u00eenchipuite<\/strong><\/p>\n\n\n\n

Seria de lucr\u0103ri ipostaziaz\u0103 cadre plastice folosind ca subiecte elemente vegetale plasate \u00een variate cr\u00e2mpeie de natur\u0103, conturate  mai mult sau mai pu\u021bin precis. Propun\u00e2nd formule compozi\u021bionale diverse, de la cele conven\u021bionale, proprii genului peisajului p\u00e2n\u0103 la forme  atipice, unele abstractizate, altele doar sub form\u0103 de haiku, aici se dore\u0219te a se surprinde acele imagini mentale ad\u00e2nc amprentate \u00een memorie la care revenim de fiecare dat\u0103 \u00een momentele noastre de reverie. Imaginile picturale sunt n\u0103scute din propriile amintiri vagi \u0219i apoi reconstruite din acest motiv ele dau impresia c\u0103 ar fi suspendate, scoase din timp \u0219i mai degrab\u0103 apar\u021bin\u00e2nd unui spa\u021biu anume interior dec\u00e2t unui spa\u021biu exterior \u0219i identificabil. <\/p>\n\n\n\n

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Gradinina inchipuita 1<\/figcaption><\/figure>\n\n\n\n
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Gradinina inchipuita 2<\/figcaption><\/figure>\n\n\n\n
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Gradinina inchipuita 3<\/figcaption><\/figure>\n\n\n\n
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Gradinina inchipuita 6<\/figcaption><\/figure>\n\n\n\n

Topografii (2004)<\/strong><\/p>\n\n\n\n

Punctul de plecare al seriei Topografii \u00eel reprezint\u0103 genul peisajului v\u0103zut de sus. \u00cen cadrul compozi\u021biilor se accentueaz\u0103 bidimensionalitatea abstract\u0103 \u0219i schematic\u0103 de macro plan. Ea este secondat\u0103 de o aluzie, at\u00e2t prin cromatic\u0103 c\u00e2t \u0219i prin dispunerea diferitelor structuri plastice, la registrul biologic, al proximit\u0103\u021bii carnale de micro plan. <\/p>\n\n\n\n

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Topografie 1<\/figcaption><\/figure>\n\n\n\n
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Topografie 3<\/figcaption><\/figure>\n\n\n\n
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Topografie 4<\/figcaption><\/figure>\n\n\n\n
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Topografie 5<\/figcaption><\/figure>\n\n\n\n

Caleidoscopul himeric<\/strong><\/p>\n\n\n\n

Proiectul pictural con\u021bine 12 cadre picturale, fiecare de dimensiunea 150×182 cm, grupate \u00eempreun\u0103, \u00eentr-o anumit\u0103 configura\u021bie, sub forma unei singure lucr\u0103ri cu dimensiunea total\u0103 de 100×1092 cm. A\u0219a cum se anun\u021b\u0103 \u00eenc\u0103 din titlu, tematica are la baz\u0103 geometria caleidoscopului, extins\u0103 ca o plas\u0103 pe \u00eentreaga suprafa\u021b\u0103 plastic\u0103. Av\u00e2nd un caracter spectaculos dar iluzoriu, aceasta reprezint\u0103 pentru percep\u021bia noastr\u0103 un joc himeric care scap\u0103 \u00een permanen\u021b\u0103 \u00een\u021belegerii ra\u021bionale chiar dac\u0103 construc\u021bia sa este de factur\u0103 geometric\u0103. Subliniind acest aspect, personajele aluzive, prezente mai mult sub form\u0103 de semn dec\u00e2t de reprezentare \u00eencarnat\u0103, se concretizeaz\u0103 \u0219i se dizolv\u0103 sporadic \u00eentr-un dans fatal de fata morgana.<\/p>\n\n\n\n

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Caleidoscopul himeric 2<\/figcaption><\/figure>\n\n\n\n
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Caleidoscopul himeric 8<\/figcaption><\/figure>\n\n\n\n
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Caleidoscopul himeric 10<\/figcaption><\/figure>\n\n\n\n
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Caleidoscopul himeric 11<\/figcaption><\/figure>\n\n\n\n

Seduc\u021bie (1999-2000)<\/strong><\/p>\n\n\n\n

Proiectul se constuie\u0219te \u00een jurul dihotomiei masculin\/feminin. Rela\u021bia este reprezentat\u0103 aici sub form\u0103 de semne, asemeni conven\u021biilor imagistice ale indicatoarelor rutiere, ceea ce atrage aten\u021bia asupra faptului c\u0103, accentul nu cade pe personaje ci pe desf\u0103\u0219urarea itinerariului. Seria con\u0163ine dou\u0103sprezece lucr\u0103ri ce prezint\u0103 o desf\u0103\u0219urare secven\u021bial\u0103, filmic\u0103, a unui proces ciclic. Leit-motivul proiectului \u00eel constituie personajul masculin, semn care reapare identic \u00een fiecare lucrare, \u00een contexte diferite, croite pe canavaua unei broderii compuse din figuri feminine multiplicate, asem\u0103n\u0103toare unei p\u00e2nze de p\u0103ianjen. Dup\u0103 consumarea \u015fi decantarea fiec\u0103rei etape, personajul masculin \u00ee\u0219i atinge apogeul unit\u0103\u0163ii sale erotice. \u00cen m\u0103sura \u00een care privitorul decide s\u0103 lectureze de la \u00eenceput seria, \u00eendemnat fiind de structura sub form\u0103 de cerc a proiectului, el plonjaz\u0103 din nou, \u00eempreun\u0103 cu personajul principal \u00een multiplicitate, relu\u00e2nd astfel ciclul karmic al istoriei sale. Cu alte cuvinte, structura proiectului este una circular\u0103, ultima lucrare put\u00e2nd fi deopotriv\u0103 \u015fi prima, adic\u0103 punctul de plecare al \u00eentregii epopei picturale. <\/p>\n\n\n\n

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Seductie I<\/figcaption><\/figure>\n\n\n\n
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Seductie II<\/figcaption><\/figure>\n\n\n\n
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Seductie III<\/figcaption><\/figure>\n\n\n\n
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Seductie XII<\/figcaption><\/figure>\n\n\n\n

Megamix<\/strong><\/p>\n\n\n\n

Seria Megamix<\/em> grupeaz\u0103 preocup\u0103ri legate de instaurarea unui dialog cu tradi\u021bia istoriei imaginii. Lucr\u0103rile presupun o remodelare a unor pasaje iconice care se convertesc pe aceast\u0103 cale, din cli\u0219eu cultural \u00een poveste personal\u0103. Punctele de plecare sunt diverse, la fel ca tehnicile \u0219i modurile de abordare, fie c\u0103 vorbim doar de citarea unor pasaje ori de reinterpretarea stilistic\u0103 a unei \u00eentregi lucr\u0103ri. Reperul cel mai \u00eendep\u0103rtat al seriei este grupul statuar antic Laocoon<\/em> iar cel mai apropiat este lucrarea lui Picasso din perioada albastr\u0103, La Vie<\/em>. \u00cen cadrul seriei, imaginile alese reprezint\u0103 borne spa\u021bio-temporale ale istoriei artei occidentale care aici sunt reinventate \u0219i aduse \u00een acela\u0219i plan al realit\u0103\u021bii, pentru a spune o nou\u0103 poveste.<\/p>\n\n\n\n

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Laocoon Megamix<\/figcaption><\/figure>\n\n\n\n
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Picasso Megamix 1<\/figcaption><\/figure>\n\n\n\n
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Picasso Megamix 2<\/figcaption><\/figure>","protected":false},"excerpt":{"rendered":"

Seria Cornucopia Cornucopia este numele generic care reprezint\u0103 seria de picturi \u00een care se introduce, \u00een cadrul deja formulat prin intermediul seriilor anterioare, subiectul, personajul uman. \u00cen acest caz, scena \u00een care intr\u0103 personajele este una caracterizat\u0103 de o abunden\u021b\u0103 a carnavalescului, mai exact de clusterele de confetti care inund\u0103 \u00eentreaga realitate. Excesul de s\u0103rb\u0103toresc … <\/p>\n

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