LUDUS

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"Charlie Chaplin once told Jean Cocteau that after the film will be finished 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 parcimony. 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. There is no actual narration, but a play of meanings drawn from disparate elements. 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.
Autist Self,<br />oil on hardboard, 65 x 40 cm, 2009<br /><br />"Autist Self": my shadow put its hand over my mouth and whispered: "Do this, do so!"<br /><br />"Never will a word be<br />commensurate with my heart.<br /> Always out of the eye, the outgrowth seen<br />             will descent, as a servant, on the mouth."
THE AESTHETICS OF RISK<br /><br />oil on canvas, 140 x 90 cm, 2009<br /><br />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.
THE ART MARKET<br /><br />mixed technique on canvas, 70 x 100 cm, 2009
THE ISLAND OF ANOTHER<br /><br />oil on canvas, 100 x 140 cm, available for sale, 2009<br /><br />The word island from the title represents the island of a novel written by a French writer, on which the Internet does not provide much information, besides the fact that he is still alive and that his work can easily fit into four suitcases. It's about "The Island of Another", of the unmistakable Jacques Perry. There is neither time nor place for a summary of the book, but I advise you to put your hands on this stunning novel, a true masterpiece of loneliness! "The Island of Another" illustrates one of the novel’s themes: the double duplication. A storm forced the hero of Jacques Perry to dock in the evening on an island. He finds shelter etween the walls of a house whose owner is away, and while exploring so deeply the existence of the owner, without realizing it, he duplicates into the life of the other . In other words, the characters in the painting "The Island of Another" experiment what G. Bachelard called the dual status of duplication.
THE JOKER<br /><br />mixed technique on canvas, 55 x 70 cm, 2009
LUDUS II<br /><br />mixed technique on canvas, 70 x 100 cm, 2009
LUDUS I<br /><br />mixed technique on canvas,60 x 90 cm, 2009<br /><br />"Ludus I" has a more delicate story: I consider this work to lack "attendees", because of its lack of chromatic "diplomacy". What can I say? Nonsense. Aside from this, through "Ludus" I can speak, perhaps more autistic than in other works, of an age when you ‘fabricate’ childhood without ever realizing that you haven’t yet exhausted your own childhood...
THE READER'S TESTAMENT<br /><br />oil on canvas, 120 x 140 cm, 2009
PONDERING  REALISM<br />oil on canvas, 100 x 140 cm, 2009<br /><br />I consider it my last canvas belonging to a long realist period. The nude is an allegory of realist painting in itself, which, as follows, will be covered and replaced by abstractionism.
RO'64<br /><br />oil on canvas, 100 x 120 cm, 2009<br /><br />The character in "RO'46" is called Uncle 'Joe and fills quite a slice of reality. Uncle 'Joe was born in 1946, and is now unemployed. But before he became unemployed, Uncle 'Joe was certainly the best and the most expressive live model of the National University of Arts in Bucharest. No, "RO'46" has no anti-capitalist message. No, "RO'46" is not a left-wing approach. There is pity on this character, but on him as a person and not as a potential ideological archetype. Anyway... in "RO'46" I tried to capture the exhaustion of a man who will leave behind as legacy what putrefaction itself leaves behind: a pile of bones. In this case, a pile of bones that once made a flawless skeleton, the visual "food" of generations of visual artists.
Bucharest, Romania
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