Q#13 – QUADRATURA (BLUEPRINT)
> about Q13: The year is 2021 and, under my trepid gaze and anxious stupor, a post-Quarantine reverie started to unkink, ushering in a Baroque schmaltz designed to rock the coherence that Hieronymus Bosch bestowed upon me in the months before epidemiology wedged its life-or-death statistics between my routines and my creativity, turbo-charging my brush towards exploits of acrylic alliterations and distorted frameworks of dynamic tranquility the likes of which architects dread and artists eroticize, unplugging centennial ceilings from my memory lane only to adorn them, in mirrored re-contextualization, with anamorphic delineations that clogged my neuronal pathways for weeks-on-end, for metronomic dead-stops, for mental reprises, for emotional sprints… In short, Life spells Gesamtkunstwerk.
> 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 94.5 x 62.5cm (100 x 67cm), signed on top right, original
> “Q#13 – Quadratura (blue print)” is available for purchase as an Unique Artwork. The original painting is made with acrylic on handmade paper 640/1000gsm. The artwork presents one protective layer of satin varnish. The artwork is signed by the artist on front top right 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.
