IDENTITY & BODY
Adela Bonaţ & Romana Mateiaş
September 28 - October 15, 2012
In Romana Mateiaş’ works, the symbolic interpretation of the identity becomes visible through the structural imagistics of the ceramic material, while Adela Bonaţ’ characters create an figurative identitry remade of fragments. The two artists achieve their discourse starting from the mise-en-abyme concept.
“Semnificaţia operei nu o găsim în totalitate conţinută de corpul efectiv al lucrării, ci ea se completează prin ideile cu care intră în rezonanţă, prin asocierile fireşti şi imprevizibile care se nasc empatic în timpul percepţiei vizuale. Reflecţiile culturale, ce amprentează interpretările artiştilor, se oglindesc în opera de artă transformată în artefact. Viziunea artistică presupune interesul pentru formă şi detaliu, pentru expresia facială şi corporală, cât şi preocuparea pentru expresia calităţilor plastice specifice materialului ceramic.” (Romana Mateiaş)
“The human body, a universe the artists explore, is reconfigured into an impressive series of visual representations and conceptual definitions. Trying to understand the image, i.e. the visual elements the artist creates, we are involuntarily subdued to a contextual brainstorming. The recognizable visual elements create connections among them and the real world, and therefore each beholder assigns some hypotheses related to work’s theme and subject. The significance of the oeuvre is not wholly included in work’s effective body, as the ideas it resonates with, the natural and imprevisible associations it empathizes with during the visual perception are added up. Stamping artists’ interpretations, the cultural reflections are mirrored in the work of art changed into an artefact. The artistic vision presumes an interest for shape and detail, for the facial and body expression, as well as for the expression of the plastic qualities that are specific to the ceramic material.
In a lot of works, human body’s shape is not represented, and the artist chooses a symbolic interpretation, using ceramics as a ludicrous surface and as an experiment for textures, graphisms and coloured glazes, the volumes, the shapes being a pretext for developing certain spectacular surfaces.
In Adela Bonaţ’ case, representation took the shape of a puppet made of articulated ceramic segments. The doll-man, the puppet-man, the masked man, resembling the characters of some tales or present in fanciful or humorous shows, are backed by a philosophic concept, by a reflection on the human condition. The work could merge bidimensional ceramics, its shape being reduced to plane surfaces; the drawings complete the ensemble. Drawings, graphisms, lettrismes and the pictorial interventions with glazes and pigments create the identity of the silhouettes.”
Text: Ramona Mateiaş
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