MARILENA PREDA SANC - BUT IT GOT TOO COLD / SEBASTIAN MOLDOVAN /AND/ YOU NEVER KNOW WHAT'S OFF

MARILENA PREDA SANC - BUT IT GOT TOO COLD 

Marilena Preda Sanc has created a unique research system of visual abstraction. In defense of a modernism where nature provides the exterior substance and the idea generates the context, MPS demonstrates that abstract art, especially geometric art, remains cutting edge. The demonstration has somewhat of a logical diversion: are the works good because they are groundbreaking or are they groundbreaking because they are good. MPS works with a repertoire of elementary forms and with a set of rules activated in the field of vision. The drawings have a controlled liberty. The minimalism operates under an additive methodology. The elements are difficult to isolate. These are the same qualities that isolate a line of poetry from a line of prose. It is only emotion / as a state of the mind / that explains how interesting a triangle, a sphere, or a square can be. Creativity remains in the memory like a repository of images.

The Spartan rigor and the geometric rules favor smooth images. Bright colors transform in opaque white and emotion becomes cold, exposed to the wind. An abstraction devastated by winter. The clear image is produced by the passing of the substance of nature in the nature of memory.

 
The drawing becomes a physical object. The colors bring intimacy like a cold shade, evasive silver, warm greyish pink. Somewhere close MPS introduces an element of time. A luxurious wager with the experiment.  
 

A state of mind, a sensation, a sound transforming into color. The color becomes a line. The line shapes narrative structures/spaces/abstractions with soul. I do not perceive abstraction as a rigor but as a symbolic metalanguage to which I have access sometimes.

'art is art beyond art now'

MPS


SEBASTIAN MOLDOVAN /AND/ YOU NEVER KNOW WHAT'S OFF

Sebastian Moldovan works with light and definite space, with broken structures of the art system. He practices a personal, sincere and uninvolved modernism.  The image is always out of context. He has eccentric notes and consistent principles.

Something subjective and anonymous influences his visual mechanisms. It adds a necessary seduction.

 The topics he covers are places and objects made by man: constructions, houses, rooms, doors, gardens.

The spatial elements have a monumental peacefulness but sometimes they induce pressure and isolation.

Sebastian Moldovan has an enigmatic connection with the house and the garden; just as mysterious, his plants and objects receive the inevitable references of acute technologies. A liminal zone between the material and the optical. There is always a fine line between dense materiality and a translucent imagination.

One clear side and some metaphors.

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