Arta suprarealista imbracata in cafea
„Nu am baut si nu beau cafea niciodata, dar acest lucru nu m-a impiedicat sa fiu fascinat de culoarea cafelei, culoarea vintage a elegantei, rafinamentului, clasicului, a oniricului, a visului, a subconstientului, a psihanalizei si in ultima instanta a artei suprarealiste .
Termenul de „samsara” este strans legat de notiunile de „avidya” si „karman”.
Samsara desemneaza circuitul existentei in lume pe baza formulei nastere-moarte-renastere. Potrivit faptelor din viata anterioara, omul se reincarneaza, urmand ca si dupa aceasta viata sa urmeze o alta. Aceasta lege fundamentala a transmigratiei (samsara) are la baza gandirea religioasa si filozofia indiana.” – Marian Simon
SAMSARA este expozitia personala de grafica suprarealista care are ca si dominanta a laviului din background numai CAFEAUA si peste fundalul de cafea Marian foloseste tus cu o tenta de acrylic pentru crearea a celor 24 de grafici de 100x70cm.
Restul este arta, respiratie filosofica grafica suprarealista, cafea si tacerea visului.
Ce este arta suprarealista? <Aducerea visului in realitatea imediata fara a trece nimic prin cenzura constiintei.> Salvador Dali
Lucrari Disponibile in Galerie
Grafica suprarealista, 70X100 cm, grafica de sevalet , laviu de cafea
*vezi mai jos disponibilitatea lucrarilor in galerie
1- Paradigma tainica a tacerii: nu vad, nu aud, nu vorbesc. Ecuatia incepe de la spiridus, care spiridus isi cenzureaza privirea, reduce la tacere bufonul, care bufon ascunde regelui auzul. Restul e tacerea universala./
The mysterious paradigm of silence: I can’t see, I can’t hear, I can’t speak. The equation starts with the trickster, who censors his gaze and silences the jester and then the jester prevents the king from hearing. The rest is the universal silence.
1- The mysterious paradigm of silence: I can’t see, I can’t hear, I can’t speak. The equation starts with the trickster, who censors his gaze and silences the jester and then the jester prevents the king from hearing. The rest is the universal silence.
2-Un alt vis al lui Mircea cu Spiridusul dezgolit zburand deasupra
labirintului vietii prin intermediul butoiului bahic inaripat care il duce in zonele oniricului./
Another dream of Mircea’s with the naked Trickster hovering above the labyrinth of life in a winged Bacchic barrel that takes him to oneiric realms.
2-Un alt vis al lui Mircea cu Spiridusul dezgolit zburand deasupra
labirintului vietii prin intermediul butoiului bahic inaripat care il duce in zonele oniricului./
Another dream of Mircea’s with the naked Trickster hovering above the labyrinth of life in a winged Bacchic barrel that takes him to oneiric realms.
3-Evadarea sau inchidere in noi atunci cand ne ratacim de noi, de fiinta noastra, nu mai stim unde incepe si se termina libertatea noastra spirituala. Restul e manipulare./
Escape from or isolation within ourselves when we get lost, separated from ourselves and from our being, when we no longer know where our spiritual freedom begins and ends. Everything else is manipulation.
3-Evadarea sau inchidere in noi atunci cand ne ratacim de noi, de fiinta noastra, nu mai stim unde incepe si se termina libertatea noastra spirituala. Restul e manipulare./
Escape from or isolation within ourselves when we get lost, separated from ourselves and from our being, when we no longer know where our spiritual freedom begins and ends. Everything else is manipulation.
4-Un alt vis al lui Mircea cu Spiridusul omniprezent care poate imbraca si chip animalier prin intermediul magarusului don quijot-ian al lui Sancho Panza, bufonul hatru si care este cumva psihologul de serviciu al dramaticului Don Quijote. In josul lucrarii avem trairi iluzorii ale vietii, siluete lipsite de libertatea de a alege fara dinamica mainii papusarului./
Another one of Mircea’s dreams, with the ever-present Trickster who can take on an animal shape, as the donkey of Sancho Panza, himself a merry jester and somehow the dramatic Don Quixote’s therapist, always “on call”. On the lower part of the artwork we see the fleeting illusions of life and silhouettes that aren’t free to choose, being animated only by the movements of the puppet master’s hand.
4-Un alt vis al lui Mircea cu Spiridusul omniprezent care poate imbraca si chip animalier prin intermediul magarusului don quijot-ian al lui Sancho Panza, bufonul hatru si care este cumva psihologul de serviciu al dramaticului Don Quijote. In josul lucrarii avem trairi iluzorii ale vietii, siluete lipsite de libertatea de a alege fara dinamica mainii papusarului./
Another one of Mircea’s dreams, with the ever-present Trickster who can take on an animal shape, as the donkey of Sancho Panza, himself a merry jester and somehow the dramatic Don Quixote’s therapist, always “on call”. On the lower part of the artwork we see the fleeting illusions of life and silhouettes that aren’t free to choose, being animated only by the movements of the puppet master’s hand.
5-Banda lui Möbius sau mai simplu banda Möbius (mai rar scris și Moebius) este un model de suprafață cu o singură față și o singură margine. Banda are proprietatea matematică de a fi neorientabilă. In interiorul acestui paradox matematic se afla din nou ingerul cu o singura aripa, cautator de sine./
The Möbius strip or Möbius strip* (sometimes spelled Moebius) is a model of a surface with a single side and a single edge. The strip has the mathematical property of not being orientable. Within this mathematical paradox resides the self-searching, one-winged angel.
5-Banda lui Möbius sau mai simplu banda Möbius (mai rar scris și Moebius) este un model de suprafață cu o singură față și o singură margine. Banda are proprietatea matematică de a fi neorientabilă. In interiorul acestui paradox matematic se afla din nou ingerul cu o singura aripa, cautator de sine./
The Möbius strip or Möbius strip* (sometimes spelled Moebius) is a model of a surface with a single side and a single edge. The strip has the mathematical property of not being orientable. Within this mathematical paradox resides the self-searching, one-winged angel.
6-Lumea labirintica a ingerului decazut aflat in plina meditatie asupra nazuintelor lui utopice fara “... de ce?”/
The labyrinth-like world of the fallen angel, who meditates on his utopian aspirations without “why?”.
6-Lumea labirintica a ingerului decazut aflat in plina meditatie asupra nazuintelor lui utopice fara “... de ce?”/
The labyrinth-like world of the fallen angel, who meditates on his utopian aspirations without “why?”.
7-Sufletele dezgolite de continut, cuantificate prin intermediul sertarelor pentru diferite nivele de constienta. In fata avem fiinta materiala sociala
ascunsa in spatele mastilor de atitudine./
Souls, void of content, quantified by means of drawers for different levels of consciousness. In the foreground there is the social, material being, hidden behind attitude masks.
7-Sufletele dezgolite de continut, cuantificate prin intermediul sertarelor pentru diferite nivele de constienta. In fata avem fiinta materiala sociala
ascunsa in spatele mastilor de atitudine./
Souls, void of content, quantified by means of drawers for different levels of consciousness. In the foreground there is the social, material being, hidden behind attitude masks.
8-Croitorul de suflete sau spiridusul revine, decorporalizat, si isi creeaza propriul inger. Sau destin?/
The tailor of souls or the trickster comes back, de-materialized, and creates his very own angel. Or is it his destiny?
8-Croitorul de suflete sau spiridusul revine, decorporalizat, si isi creeaza propriul inger. Sau destin?/
The tailor of souls or the trickster comes back, de-materialized, and creates his very own angel. Or is it his destiny?
9-Atitudinile mainilor tradeaza ceea ce suntem, cel putin la nivelul aparentelor sociale si sa nu uitam de comunicarea non-verbala./
The attitudes of hands betray what we are; at least as far as social appearances go, not to mention non-verbal communication.
9-Atitudinile mainilor tradeaza ceea ce suntem, cel putin la nivelul aparentelor sociale si sa nu uitam de comunicarea non-verbala./
The attitudes of hands betray what we are; at least as far as social appearances go, not to mention non-verbal communication.
10-
Incercarea fiintei umane de a-si depasi conditia DAR NU PRIN INTERMEDIUL SPIRITULUI, CI AL MATERIEI DIN ACRE A FOST PLAMADIT DE DUMNEZEU.
Doreste sa fie pasare fara sa aiba repere necesare zborului. In acelasi timp traieste drama don quijote-ana a cautarii fantasmice a morilor de vant./
Man’s attempt to transcend his condition, but not through spirit, but through the matter from which God made him.
Man wants to be a bird, but is not equipped to fly. At the same time, he lives the Don Quixote drama of the search for fantastic wind-mills.
10-
Incercarea fiintei umane de a-si depasi conditia DAR NU PRIN INTERMEDIUL SPIRITULUI, CI AL MATERIEI DIN ACRE A FOST PLAMADIT DE DUMNEZEU.
Doreste sa fie pasare fara sa aiba repere necesare zborului. In acelasi timp traieste drama don quijote-ana a cautarii fantasmice a morilor de vant./
Man’s attempt to transcend his condition, but not through spirit, but through the matter from which God made him.
Man wants to be a bird, but is not equipped to fly. At the same time, he lives the Don Quixote drama of the search for fantastic wind-mills.
11-Oul dogmatic nascator de ingeri tinut de mana meditativa hamletiana. Deasupra oului, chipul intuit al artistului in spatele caruia se afla Banda lui Möbius , o ironie stranie a matematicii (este un model de suprafață cu o singură față și o singură margine. Banda are proprietatea matematică de a fi neorientabilă.)/
The dogmatic egg that births angels is held by the pensive hand of Hamlet. Above the egg is the barely sketched face of the Artist and behind him the Möbius strip, a strange irony of Mathematics (a model of a surface that only has one side and one edge. The strip has the mathematical property of not being orientable).
11-Oul dogmatic nascator de ingeri tinut de mana meditativa hamletiana. Deasupra oului, chipul intuit al artistului in spatele caruia se afla Banda lui Möbius , o ironie stranie a matematicii (este un model de suprafață cu o singură față și o singură margine. Banda are proprietatea matematică de a fi neorientabilă.)/
The dogmatic egg that births angels is held by the pensive hand of Hamlet. Above the egg is the barely sketched face of the Artist and behind him the Möbius strip, a strange irony of Mathematics (a model of a surface that only has one side and one edge. The strip has the mathematical property of not being orientable).
12-Nasterea mefistofelica in timp ce ingerul din noi se destrama sub presiunea nasterii alter-ego-ului nostru dramatic material./
A Mephistophelian birth, while the angel within fades away under the pressure of the creation of our dramatically material alter-ego.
12-Nasterea mefistofelica in timp ce ingerul din noi se destrama sub presiunea nasterii alter-ego-ului nostru dramatic material./
A Mephistophelian birth, while the angel within fades away under the pressure of the creation of our dramatically material alter-ego.
13-Un nou vis al lui Mircea, care ne duce in lumea Papusarului, care Papusar misca insasi Lumea./
Another one of Mircea’s dreams, which takes us in the world of the Puppet Master, who moves the entire world.
13-Un nou vis al lui Mircea, care ne duce in lumea Papusarului, care Papusar misca insasi Lumea./
Another one of Mircea’s dreams, which takes us in the world of the Puppet Master, who moves the entire world.
14-Mana este organul cu care ne agatam cu disperare de materialitatea vietii, mana care prin intermediul degetelor se transforma in picioare./
The hand is the organ that we use to desperately cling on to the materiality of life; the hand stretches out its fingers to become a foot.
14-Mana este organul cu care ne agatam cu disperare de materialitatea vietii, mana care prin intermediul degetelor se transforma in picioare./
The hand is the organ that we use to desperately cling on to the materiality of life; the hand stretches out its fingers to become a foot.
15-Ne rupem din aluatul primordial al respiratiei lui Dumnezeu. Dintr-o crunta curiozitate rationala ajungem sa credem ca putem sa ne autodefinim redesenandu-ne eminamente material, dar ajungand sa fim secatuiti de spirit./
We tear ourselves out of the primordial dough of God’s breath. Out of a cruel rational curiosity we end up believing that we can define ourselves, by redrawing an essentially material version of us. But we end up being depleted of spirit.
15-Ne rupem din aluatul primordial al respiratiei lui Dumnezeu. Dintr-o crunta curiozitate rationala ajungem sa credem ca putem sa ne autodefinim redesenandu-ne eminamente material, dar ajungand sa fim secatuiti de spirit./
We tear ourselves out of the primordial dough of God’s breath. Out of a cruel rational curiosity we end up believing that we can define ourselves, by redrawing an essentially material version of us. But we end up being depleted of spirit.
16-Ingerul care se balanseaza prin intermediul clopotelor deasupra straniului cosmonaut din Nazca - Peru, cu care si comunica subliminal. Cosmonautul jos - Fiinta sus.
De ce nu o comunicare dintre om si o alta dimensiune a noastra si a Universului? E solutia salvarii noastre incercand sa ne redescoperim in sine./
The angel swings on bell ropes above the eerie cosmonaut in Nazca – Peru, with whom he communicates subliminally. The Cosmonaut is down and the Being is up.
Why not have a communication between man and another dimension of himself and of the Universe? It is the solution to the puzzle of our redemption, while we try to rediscover ourselves in the self.
16-Ingerul care se balanseaza prin intermediul clopotelor deasupra straniului cosmonaut din Nazca - Peru, cu care si comunica subliminal. Cosmonautul jos - Fiinta sus.
De ce nu o comunicare dintre om si o alta dimensiune a noastra si a Universului? E solutia salvarii noastre incercand sa ne redescoperim in sine./
The angel swings on bell ropes above the eerie cosmonaut in Nazca – Peru, with whom he communicates subliminally. The Cosmonaut is down and the Being is up.
Why not have a communication between man and another dimension of himself and of the Universe? It is the solution to the puzzle of our redemption, while we try to rediscover ourselves in the self.
17-Un alt vis al lui Mircea cu acelasi omniprezent spiridus, de data aceasta pe post de pescar de serviciu aflat pe o testoasa, neincorsetat in dramele lantului trofic al deznadejdii si al dramei materiale in care ne ducem iluzia fericirii./
Another dream by Mircea, of the ever-present trickster, this time as a fisherman sitting on a turtle, free from the desolation of the food chain of despair and of the material drama in which we weave the illusion of happiness
17-Un alt vis al lui Mircea cu acelasi omniprezent spiridus, de data aceasta pe post de pescar de serviciu aflat pe o testoasa, neincorsetat in dramele lantului trofic al deznadejdii si al dramei materiale in care ne ducem iluzia fericirii./
Another dream by Mircea, of the ever-present trickster, this time as a fisherman sitting on a turtle, free from the desolation of the food chain of despair and of the material drama in which we weave the illusion of happiness
18-O lume recreata de fiecare din noi prin intermediul visului,
altfel. In cazul de fata avem spiridusul, cea mai libera fiinta, care nu este legata dramatic de Rege, asa cum se intampla in cazul Bufonului.
El este cel care aprinde lumina prin intermediul unui Bec dual si dihotomic si al unui alt spridus care inlocuieste filamentul, el fiind insusi filamentul vietii./
A world recreated by each of us through dreams; every time, a different world. Here we have the Trickster, the freest of all beings, who isn’t dramatically tied to the King, like the Jester.
He is the one who turns on the light, using a Bulb that is dual and dichotomous, while another trickster replaces the filament, he being the very filament of life.
18-O lume recreata de fiecare din noi prin intermediul visului,
altfel. In cazul de fata avem spiridusul, cea mai libera fiinta, care nu este legata dramatic de Rege, asa cum se intampla in cazul Bufonului.
El este cel care aprinde lumina prin intermediul unui Bec dual si dihotomic si al unui alt spridus care inlocuieste filamentul, el fiind insusi filamentul vietii./
A world recreated by each of us through dreams; every time, a different world. Here we have the Trickster, the freest of all beings, who isn’t dramatically tied to the King, like the Jester.
He is the one who turns on the light, using a Bulb that is dual and dichotomous, while another trickster replaces the filament, he being the very filament of life.
19-Creatii menhirice care au ajuns la autosuficienta sinucigasa de a se crea una pe alta. /
Menhir-like creations, which have reached the suicidal self-sufficiency of creating one another.
19-Creatii menhirice care au ajuns la autosuficienta sinucigasa de a se crea una pe alta. /
Menhir-like creations, which have reached the suicidal self-sufficiency of creating one another.
20-Un nou vis al lui Mircea in care acelasi spiridus ne coordoneaza si ne da sens pasilor si drumurilor. Poti sa calci ca un elefant sau ca o fiinta umana. Totul tine de alegerea drumului./
A new dream by Mircea in which the same trickster coordinates and gives a sense to our steps and our paths. One may tread as an elephant or as a human. What matters is the path that they walk down.
20-Un nou vis al lui Mircea in care acelasi spiridus ne coordoneaza si ne da sens pasilor si drumurilor. Poti sa calci ca un elefant sau ca o fiinta umana. Totul tine de alegerea drumului./
A new dream by Mircea in which the same trickster coordinates and gives a sense to our steps and our paths. One may tread as an elephant or as a human. What matters is the path that they walk down.
21-In spate, citadela umana construita in spledndida Antichitate, recreata de catre marii maestri ai Renasterii si decazuta dupa Darwin. In fata, cele trei maimute care judeca cofrajul material despiritualizat sau spiritul uman meditativ si golit de continut./
In the background, the human citadel built by the resplendent Antiquity, later recreated by the grand masters of the Renaissance and fallen to ruins after Darwin. In the foreground, the three monkeys that pass judgement on the spiritless material mold or the meditative and void human spirit.
21-In spate, citadela umana construita in spledndida Antichitate, recreata de catre marii maestri ai Renasterii si decazuta dupa Darwin. In fata, cele trei maimute care judeca cofrajul material despiritualizat sau spiritul uman meditativ si golit de continut./
In the background, the human citadel built by the resplendent Antiquity, later recreated by the grand masters of the Renaissance and fallen to ruins after Darwin. In the foreground, the three monkeys that pass judgement on the spiritless material mold or the meditative and void human spirit.
22-Ne aflam din nou alaturi de straniile desene din Nazca nedecodate prin parghii stiintifice, dar care ne arata "calea' spre alta dimensiune a noastra, si fiinte spirituale groaznic de corporalizate./
We are again in the presence of the eerie Nazca drawings that couldn’t be decoded using “scientific” methods, but which show the way towards another dimension of ourselves as spiritual beings that have become frightfully corporeal.
22-Ne aflam din nou alaturi de straniile desene din Nazca nedecodate prin parghii stiintifice, dar care ne arata "calea' spre alta dimensiune a noastra, si fiinte spirituale groaznic de corporalizate./
We are again in the presence of the eerie Nazca drawings that couldn’t be decoded using “scientific” methods, but which show the way towards another dimension of ourselves as spiritual beings that have become frightfully corporeal.
23-Un alt vis al lui Mircea cu Spiridusul-menestrel care canta si ne incanta pe noi, muritorii melci care ne cautam, incercand sa ne descoperim destinele, inregimentati intr-o casa fara de suflet pe meandrele labirintice ale iluziei materiale./
Another dream of Mircea’s, of the Trickster as a troubadour playing for us and delighting us, the mortal snails, who are looking for ourselves, trying to find our destinies, all the while being locked up in a soulless house, on the labyrinthic meanders of material illusions.
23-Un alt vis al lui Mircea cu Spiridusul-menestrel care canta si ne incanta pe noi, muritorii melci care ne cautam, incercand sa ne descoperim destinele, inregimentati intr-o casa fara de suflet pe meandrele labirintice ale iluziei materiale./
Another dream of Mircea’s, of the Trickster as a troubadour playing for us and delighting us, the mortal snails, who are looking for ourselves, trying to find our destinies, all the while being locked up in a soulless house, on the labyrinthic meanders of material illusions.
24-Un alt vis al lui Mircea si implicit intr-o alta lume a Spiridusului care misca Lumea, lumea, lui, lumea mea, lumea ta, Lumea. Tot aici avem bufonul dintr-un carnaval venetian care e papusa ce face colectie de chipuri cu care poate sa prezinte spectacolul vietii./
Another dream of Mircea’s, and implicitly another world of the Trickster that sets the World in motion, his world, my world, your world, the World. We also have here the jester from a Venetian carnival, who is a doll and collects faces with which he can then act out the spectacle of life.
24-Un alt vis al lui Mircea si implicit intr-o alta lume a Spiridusului care misca Lumea, lumea, lui, lumea mea, lumea ta, Lumea. Tot aici avem bufonul dintr-un carnaval venetian care e papusa ce face colectie de chipuri cu care poate sa prezinte spectacolul vietii./
Another dream of Mircea’s, and implicitly another world of the Trickster that sets the World in motion, his world, my world, your world, the World. We also have here the jester from a Venetian carnival, who is a doll and collects faces with which he can then act out the spectacle of life.
Pentru orice informatii in legatura cu lucrarile, ne puteti contacta la: oana@renaissance-artgallery.com sau la +40 722 381 325.