ATAVISM – a BESTIARY of CONSPIRACIES
PAINTINGS | ARTWORKS | PROJECT
There once was a crisis that, as all crises do, fucked up the routines of the animals that had to make do. Truth be told, the truth is difficult to tell. It is easier to draw it, since it is easier to paint, then to spell. Not to mention the unfair, yet tested commercial eminence of colors, when compared to words: they’re easier to sell!
So Alex ruffled brushes on paper, which he marked as handmade, after washing his hands thoroughly, to indulge himself soulfully in many a chromatic pillaging raid. For this is a quiver of works that rerun some cycles of supposedly 40 days when those days came undone and pierced the praxis of the people that people pretended to be when those cycles begun.
Of course, perceptions may be aggrandized in these works, and so the expressions, yet when truth is collective, honesty is inhaled and exhaled in a tempo shortstopped by anxieties and digression. We all know that we know when we draw vestigial breath in synchronicity. We embrace herd-certainty with gusto and that holy simplicity fosters the answers even before sensible questions had the chance to be dotted and dashed into meme multiplicity. You just need to remember that every conspiracy, no matter how intricate, is, to put it straightforwardly, as if by a five year old, all about core geometry: once you have worked out the angles, you will get the point… then you need to convert some seemingly lonely dots into straight lines – those are so eager to conjoint that you ought to be careful not to trap yourself between obfuscated planes – those adorned with the smoke and the mirrors weaponized to broil the blood in your veins.
All the conspiracies – and quite a few artists, too! – are fighting for the metric structures of your mind, yet only a handful may claim victory by employing numerical tactics – the kind poised to corrupt algebra to the brink of despair that kicks Reason behind. Pay heed to the ones that will attempt to become concubines of your fears, incessantly searching for that cracked spot where your identity obtusely steers itself away from any cosmopolitan luminescence that might have kept end-of-days lizards at bay for years and years!
In short, Alex pursued in these works a truth or two to tell (he also pursued Bosch, Pollock and Richter and Jean-Paul Riopelle…). He quested for some sort of magnified acrylic immersion diascopy, since oil immersion takes too long to dry out… Truth empathy would be the shorthand for this sample of polychromatic ontology. Dignum memoria: once grouped in this order, these works do whisper a cautionary story of groupishness anxiety…
Visuals: Alexandru Crisan, Writings: C.StDinulescu.