Renaissance, Autor pe - Pagina 7 din 8

De la Est la Vest: 17 Noiembrie 2017 – 7 Ianuarie 2018

LUCRARI DISPONIBILE IN GALERIE: Ammar Alnahhas – artist din Damasc (Siria) care traieste in Romania Covoare Turcesti – Create manual de femeile siriene care locuiesc in doua tabere de refugiati din Turcia Expozitia “De la Est la Vest” reuneste pe simeza Renaissance Art Gallery lucrarile de pictura ale artistului Sirian Ammar…

Covoare Turcesti Tesute Manual ( 17 Noiembrie 2017)

Pentru orice informatii in legatura cu covoarele din galerie, ne puteti contacta la: oana@renaissance-artgallery.com sau la +40 722 381 325.

Irina Neacsu: De la Botanic la Abstract & Cartea Starilor Sufletesti (12 Octombrie- 14 Noiembrie 2017)

Tema expozitiei aduce impreuna lucrarile recente ale artistei, din 2017, care releva fascinatia ei pentru universul botanic. Lucrarile botanice in acuarela ilustreaza frumusetea florilor intr-o maniera decorativa, focusata pe observatia si admiratia pura, ca stari ce creeaza principalul portal spre gratitudine si recunostinta. Intr-un registru mai profund, picturile abstracte vorbesc despre intelegere si acceptare, vizavi de efemeritatea existentei si de mortalitate. Cursul firesc al naturii prin schimbarile anotimpurilor dovedeste puterea prezentului. De la decorativ la abstract, de la observare la emotie, lucrarile Irinei vorbesc despre momentele ei prezente de gratitudine, simplitate si eleganta.

Lucrarile Irinei sunt expuse dupa cum urmeaza:

Ilustratii botanice – acuarela pe hartie
Picturi abstracte – ulei si mixed media pe panza
„Cartea Starilor Sufletesti” – project preview – ulei pe panza si carte de artist

Ilustratiile botanice si picturile abstracte sunt expuse impreuna, in grupuri, pentru a evidentia procesul transformariii subiectelor botanice din subiecte clasice in teme abstracte.

„Cartea Starilor Sufletesti” este expusa separat, deoarece este un proiect in desfasuare. In ultimele lucrari din acest proiect, Irina foloseste pictura realista ca o tehnica de povestire pentru a descrie stari complicate ca naratiuni suprarealiste. Subiectii botanici devin metafore ale mortalitatii si frumusetii efemere.

Curatorul expozitiei este Karima Radwan, istoric si lector de arta.

Lucrari Disponibile in Galerie pentru Vanzare:

1_Autumn Glimpses 01-Oil and mixed media on canvas, 120x120
1_Autumn Glimpses 01-Oil and mixed media on canvas, 120x120

2_autumn glimpses 01_1
2_autumn glimpses 01_1

3_autumn glimpses 02
3_autumn glimpses 02

4_Autumn Glimpses 03 -Oil and mixed media on canvas, 120×120
4_Autumn Glimpses 03 -Oil and mixed media on canvas, 120×120

5_Autumn Glimpses 04, Oil and mixed media on canvas, 120×120 cm, unframed
5_Autumn Glimpses 04, Oil and mixed media on canvas, 120×120 cm, unframed

6_Hydrangea 01- Watercolor on paper, 29×29_framed 50×50
6_Hydrangea 01- Watercolor on paper, 29×29_framed 50×50

7_Hydrangea 02 – oil and mixed media on canvas, 100×150, framed
7_Hydrangea 02 – oil and mixed media on canvas, 100×150, framed

8_Hydrangea – small lamp_1
8_Hydrangea – small lamp_1

9_Hydrangea – small lamp_2
9_Hydrangea – small lamp_2

10_Hydrangea -big_lamp
10_Hydrangea -big_lamp

12_rose garden_white_watercolor on paper, 45X35
12_rose garden_white_watercolor on paper, 45X35

13_rose garden_pink_watercolor on paper, 45X35
13_rose garden_pink_watercolor on paper, 45X35

14_rose garden_yellow_watercolor on paper, 45X35
14_rose garden_yellow_watercolor on paper, 45X35

15_rose garden_red_watercolor on paper, 45X35
15_rose garden_red_watercolor on paper, 45X35

16_rose garden_petals_watercolor on paper, 67X67
16_rose garden_petals_watercolor on paper, 67X67

17_Folded_01_oil and mixed media on canvas, 70×70, framed
17_Folded_01_oil and mixed media on canvas, 70×70, framed

18_Folded_02_oil and mixed media on canvas_70×70
18_Folded_02_oil and mixed media on canvas_70×70

19_Forever Lost 01_ cone_Watercolor and ink on paper, framed, 63×51
19_Forever Lost 01_ cone_Watercolor and ink on paper, framed, 63×51

20_Forever Lost 02_feather_Watercolor and ink on paper, framed, 63×51
20_Forever Lost 02_feather_Watercolor and ink on paper, framed, 63×51

21_Forever Lost 03_leaf_Watercolor and ink on paper, framed, 63×51
21_Forever Lost 03_leaf_Watercolor and ink on paper, framed, 63×51

22_Forever Lost 04_stone_Watercolor and ink on paper, framed, 63×51
22_Forever Lost 04_stone_Watercolor and ink on paper, framed, 63×51

23_Canopy_Tropical_01_watercolor on paper, framed, 62×52
23_Canopy_Tropical_01_watercolor on paper, framed, 62×52

24_Canopy_Tropical_02_watercolor on paper, framed, 52×42
24_Canopy_Tropical_02_watercolor on paper, framed, 52×42

25_Canopy_Foliage1_oil and mixed media on canvas_80×100
25_Canopy_Foliage1_oil and mixed media on canvas_80×100

27_Wanderlust_Maple_01_watercolor and pencil on paper, framed, 43×38
27_Wanderlust_Maple_01_watercolor and pencil on paper, framed, 43×38

28_Wanderlust_Maple_02_watercolor and pencil on paper, framed, 43×38
28_Wanderlust_Maple_02_watercolor

29_Wanderlust_Seasons_oil and mixed media with golden leaf on canvas, framed, 140×100
29_Wanderlust_Seasons_oil and mixed media with golden leaf on canvas, framed, 140×100

30_Wanderlust_Seasons1
30_Wanderlust_Seasons1

31_Ready for the storm_Oil and mixed media on canvas, 100×150
31_Ready for the storm_Oil and mixed media on canvas, 100×150

33_The Book of Moods_02_ Oil on canvas, 70×70, framed
33_The Book of Moods_02_ Oil on canvas, 70×70, framed

34_The Book of Moods_02_1
34_The Book of Moods_02_1

35_The Book of Moods_03_ Oil on canvas, 70×70, framed
35_The Book of Moods_03_ Oil on canvas, 70×70, framed

36_The Book of Moods_03_1
36_The Book of Moods_03_1

37_The Book of Moods_04_ Oil on canvas, 70×70, framed
37_The Book of Moods_04_ Oil on canvas, 70×70, framed

38_The Book of Moods_04_1
38_The Book of Moods_04_1

39_The Book of Moods_05_ Oil on canvas, 70×70, framed
39_The Book of Moods_05_ Oil on canvas, 70×70, framed

40_The Book of Moods_05_1
40_The Book of Moods_05_1

41_The Book of Moods_06_ Oil on canvas, 70×70, framed
41_The Book of Moods_06_ Oil on canvas, 70×70, framed

42_The Book of Moods_06_1
42_The Book of Moods_06_1

43_perne decorative din in cu print botanic_linen decorative cushions with botanical print_40x40cm
43_perne decorative din in cu print botanic_linen decorative cushions with botanical print_40x40cm

44_perne decorative din in cu print botanic_linen decorative cushions with botanical print_40x40cm
44_perne decorative din in cu print botanic_linen decorative cushions with botanical print_40x40cm

46_perne decorative din in cu print botanic_ linen decorative cushions with botanical print_40x40cm
46_perne decorative din in cu print botanic_ linen decorative cushions with botanical print_40x40cm

47_perna decorativa din in cu print botanic_ linen decorative cushion with botanical print_40x40
47_perna decorativa din in cu print botanic_ linen decorative cushion with botanical print_40x40

48_perna decorativa din in cu print botanic_ linen decorative cushion with botanical print_40x40
48_perna decorativa din in cu print botanic_ linen decorative cushion with botanical print_40x40

49_perna decorativa din in cu print botanic_ linen decorative cushion with botanical print_40x40
49_perna decorativa din in cu print botanic_ linen decorative cushion with botanical print_40x40

50_perna decorativa din in cu print botanic_ linen decorative cushion with botanical print_40x40
50_perna decorativa din in cu print botanic_ linen decorative cushion with botanical print_40x40

51_perna decorativa din in cu print botanic_ linen decorative cushion with botanical print_40x40
51_perna decorativa din in cu print botanic_ linen decorative cushion with botanical print_40x40

52_perna decorativa din in cu print botanic_ linen decorative cushion with botanical print_40x40cm
52_perna decorativa din in cu print botanic_ linen decorative cushion with botanical print_40x40cm

53_perna decorativa din in cu print botanic_ linen decorative cushion with botanical print_40x40cm
53_perna decorativa din in cu print botanic_ linen decorative cushion with botanical print_40x40cm

54_perna decorativa din in cu print botanic_ linen decorative cushion with botanical print_40x40cm
54_perna decorativa din in cu print botanic_ linen decorative cushion with botanical print_40x40cm

55_Herbarium – leather and paper with photos of the plants and Latin & Romanian name plus description of the flowers and their properties in Romanian-SOLD
55_Herbarium – leather and paper with photos of the plants and Latin & Romanian name plus description of the flowers and their properties in Romanian-SOLD

56_Herbarium_leather and paper with plants photos
56_Herbarium_leather and paper with plants photos

Pentru orice informatii in legatura cu lucrarile, ne puteti contacta la: oana@renaissance-artgallery.com sau la +40 722 381 325.

Mirel Vieru: Limita & Evolutie (7 – 24 Septembrie 2017)

Tema expozitiei sta sub semnul gandirii limitei – in general; iar in particular este o incercare de a intelege cum anume se comporta limita in peisajul procesului pe care il numim evolutie. Vad tema limitei ca fiind una din temele esentiale ale raportului nostru reflexiv cu lumea.…

Delta Dunarii – Forta prin fragilitate (1 – 4 Septembrie 2017)

Artisti: Jane Tagg, Vali Irina Ciobanu Jane Tagg Natura fragila a ecosistemului este reprodusa prin folosirea mediului si structurii delicate a sculpturilor de hartie. Forme taiate cu laserul de plante, zambile, pesti si pelicani, sunt folosite pentru a crea forme sculpturale care amintesc de germinarea structurilor de…

Marian Simon: SAMSARA (24 Mai – 23 August)

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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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.

Ramona Pintea – Drumul Spre Lumina (Elysium: 15 Martie – 1 Mai 2017)

Curator Iulia Toader despre expozitie: : „Am vazut in Ramona Pintea o artista gata sa infrunte temele grele ale spiritului prin pictura. Cu un gest expresionist avand chiar accente de fauvism, vine spre noi cu panze post-moderne, largi si aerisite in care culori pure ca…

Mariana Villanueva – Zborul Fluturilor (Elysium: 15 Martie – 1 Mai 2017)

Mariana Villanueva, Master in Design la IED Institutul European de Design, Italia. Mariana a avut o viata de nomad, locuind in Londra, Monterrey, Bucuresti si Milano, ea este un adevarat cetatean global, si in aceste calatorii a descoperit sticla in 2005 in Anglia, ca material…

Vali Irina Ciobanu – Emotii (Elysium: 15 Martie – 1 Mai 2017)

„Imi plac tehnicile, le studiez, le experimentez, incerc sa le aflu secretele… S-a pictat atatia ani pe piele, incat era imperios necesar sa incerc aceasta tehnica renascentista. Tot timpul incerc tehnicile care au rezistat in timp, pe cele care si-au dovedit in acest fel durabilitatea.

Mai intalnisem informatii in manualele despre tehnicile vechi, dar am descoperit mai multe detalii despre aceasta tehnica intr-o carte despre o lucrare care se presupunea ca ar fi fost pictata de Leonardo da Vinci. Am tot experimentat ani de zile pana am gasit formula ideala. Ce pigmenti sa folosesc, cum sa adaptez vechile materiale la cele actuale si cu ce verniuri si lacuri finale sa fixez pentru a-i pastra elasticitatea naturala a pielii. Acum aceasta este una dintre tehnicile mele favorite deoarece pielea e foarte versatila si, fiind un suport natural, iti ofera surprize… si putina adrenalina, de fiecare data. Culoarea, textura pielii cer un anumit subiect realizat intr-o anumita maniera picturala. Veti observa lucrari pictate in acuarela, in tempera cu ou, guase, tus sau tehnici mixte. Toate sunt tehnici vechi, cu pigmenti naturali care se preteaza lucrului pe suport natural. La lucrarile de mari dimensiuni pielea este intinsa pe un sasiu care are in prealabil pe el o panza, astfel incat pielea sa fie mai bine protejata. Dupa ce este foarte bine intinsa pielea, o curat si apoi o prepar cu un grund special. Guma arabica, care este un ingredient natural pe care-l folosesc la pregatirea suportului, este la fel de veche ca si pictura, as spune.” – Vali Irina Ciobanu

Curator Iulia Toader despre expozitie: „O cunosc pe Vali Ciobanu din operele ei mai mult decat personal si, din acel lirism de tip romantic prezent in arta ei figurativa este perfect echilibrat de o cromatica eleganta, in asa fel incat rezultatul scapa de sub manierismul prea dulce si devine o invitatie elevata la visare.

Cu o tehnica decisa si bine stapanita, e capabila sa redea atat energia vulcanica a hergheliilor de cai, dar si repaosul absoult al unei dansatoare in acea pauza intima de auto-admiratie si glorie personala.

Cu cat momentul este surprins mai rapid, cu atat descopar o alta calitate pe care cred ca ar putea sa o fructifice din ce in ce mai mult. Un simt special al culorii, care o face sa ascunda in interiorul tonurilor inchise o lume lejera si emotionanta, plina de jovialitate. Schitele ei sunt astfel, secrete rasfatate pastrate in suflete introvertite si serene.