Q#2 – QUAECUMQUE SUNT VERA
> about Q2: “…quaecumque sunt vera…”:This is an “acrylic EKG” on a sheet of paper as heavy as, allegedly, 7% of my soul. It is a work toned down by the inception of a Quarantine, while sharpened by a scared anamnesis of previous attempts to chromatically explore the ontology of the self. This is, in fact a freeze-frame that pinpoints the very moment when a reluctantly parleyed “cordon sanitaire” turned into an aloof “cordon solitaire”. It is meant to be “the quick brown fox jumps over the lazy dog” of an identity crisis, a psychoanalytic pangram comprising every single letter used to spell out the consciousness of finitude. Most surprisingly for an agnostic, the title of this work comes from Philippians 4:8 (KJV): “Finally, brethren, whatsoever things are true (quaecumque sunt vera), whatsoever things are honest, whatsoever things are just, whatsoever things are pure, whatsoever things are lovely, whatsoever things are of good report, if there be any virtue and if there be any praise, think on these things”.
> Q project: “Qualis artifex pereo…” If ever there is a germane moment in an artist’s life to take Nero, the fifth Emperor of Rome, seriously, and, consequently, to try to correctly translate his words, it is precisely during a pandemic! These are works created between December 2019 and August 2021. They are the offspring of a “cordon sanitaire” that challenged my cloistered creative impulses to the brink of burnout. On the sunny side of the process, my decade-long interest in a multifaceted abstract expressionism was nurtured by the “cordon solitaire” that the COVID-19 “Q”uarantine imposed upon me. I think that, for any artist, obsession is coherence, even more so when his senses are under siege. My own coherence was driven by a documentarian impulse coupled with an identity reconstruction: you are “reading”, in fact, selected pages from an “acrylic journal”, warts and all… Incidentally, I’ve always thought that reading between the lines, no matter how blurred their askew edges, is the key to immersive empathic analogies – especially when it comes to lyrical abstractions that connect egos and souls.
> artifex: I am a visual storyteller who dissects perceptions and deconstructs mythologies. The fact is, I have put crayon, charcoal or brush to paper or canvas for as long as I can remember, always obsessed with geometries and color resonance, subsequently fascinated by the transpositions I was imposing upon them by toying with the light switch in my room. When I was about 12 years old, I have received my very first photo camera. It was a Zenit E, which I have took apart within hours and, of course, failed to put back together for weeks on end – a borderline fatalistic compulsion, very similar to the noxious process that breeds the chromatic “alchemy” of my paintings. What followed were the years when natural light became my “governess”. A decade after that, as a professional architect, the logic of the obsession turned out to be the taming of both artificial and natural light between blocks of concrete and sheets of glass. The sum of those successive inception points and ensuing pathways, together with over 15 years of fine-art photography experimentations, pushed me towards the artistic anxieties the “chromatic exorcism” of which you are seeing now.
> more: “Q” > https://alexandru-crisan.com/projects/q/
> Unique Artwork, painting
> dimensions 102 x 72cm (112 x 76cm), diptych, signed on bottom left, original
> “Q#2 – Quaecumque sunt vera” is available for purchase as an Unique Artwork. The original painting is made with acrylic on magnani paper 300gsm. The artwork presents one protective layer of satin varnish. The artwork is signed by the artist on front bottom left side with black ink. The work is also signed, stamped and have a unique identification numbered on the back side. Additionally, we can provide a dedicated Certificate of Authenticity, signed by the Artist, indicating that you have purchased an original unique artwork.
