Intuitive searches, expansive spaces and volumes, frozen structures in the supplest instance of their ever more prodigious projections, in a fluctuating apparent fragility.
This can be one of my definitions of a neo-contemporary, meta visual work of art, anticipating a new type of expression and perception in fine arts.
We shall not remain in the sterile and inhibiting teritory of strict and inpersonal definitions. The visual layout which forms this exhibition underlines and endows with life an effort of will and training by successive shapings, both at evolutionary and physical level in the field of abstract speculation.
Thus, the objects that make up this tangible and intuitive work in the thin air of a transcending type of projection become the actual projections, eloquent samples of these evolutionary stages of shapings, relating to an utmost personal aesthetic communication system.
On the other hand, the objects that make up this meta visual image can be contemplatively structured in a type of programmed and controlled escape from the actual plan of graphic expression into that of abstract speculation, thus gaining substance and a type of hyper individuality, generated by this speculative exile which in the end is redeeming.
Therefore the entire event becomes more than just an exhibition which is based on the visual object itself, relieving an aesthetic field full of interior symbolism, marked by personal semiotics.
Its nostalgic allure animates a volumetric and sentimental game, in which contradictory elements are born at times, ranging from organic buildings to kinetic and compulsive engineerings of a subtle coherence, accompanied by subtle and glorified landscapes, which in their undefined compositional structure can be mistaken for strange images of intraneuronal fields, of an almost Baroque impact.
Yet plastic expression remains a means and not an end, a real tool, a substance of contrast in the service of knowledge and experimentation of wider territories of the idea and form.
The route followed in developing this aesthetic-existential adventure becomes more complex impregnating them with a number of elements of perception, introspection, contrast and awareness.
The visual and symbolic content of the “meta visual installation” alternates benignly between subtle dynamics of sudden or fine furnishing and the promise of a permanent stylistic challenge, in an unclassifiable expression of a very personal nature.
This complicated and oversized aestheticism full of seemingly contradictory elements, allows the viewer a wider field of expression which could not be better, a generous approach by visual information storage capacity, a good recommendation to address the front exhibition space and perception and works that composes a detachment from any custom style.
Thus, the works should not be perceived as simple or intricate sculptures or colorful drawings, inert results of a dull and useless labor, but rather as a series of FORMS OF COMMUNICATION at a meta artistic level, that depend on the shaping of a PERSONAL AND SPECULATIVE AESTHETIC, existential adventure, emphasized in a key of expression of an individual evolution plan.
Also, the detachment of any artistic or ideational trend is only going to encourage the perception of their true meta visual expressions in the means of a semantic and aesthetic overload.
This neo contemporary manifestation of some FORMS OF COMMUNICATION and expression brings and suggests a new pattern of perception and inevitable reference to the current visual artistic phenomenon.
Thus one can speak of this NEOOPERA of a META ARTCTUAL speculative approach inserted in the need to franticly search for new means of expression and communication.
These new approaches are appearing in the expansive field of contemporary art and not only as a natural reaction to social and evolutionary shaping alone.
It also needs to be said that the meta visual expression of this work of art ranks among the speculative anticipation of a new aesthetic perception and communication system arising from the explosion of motivating and constructive new technologies which by their dynamic expansion required reassessments in the majority of social plans.
A more than contemporary artistic expression folded on the structure of a new aesthetic approach conditions and positively places this neo construction of meta visual and narrative polishing in unpredictable directions of subtle intercommunication.
I state again that I do not believe in a form of strict and fixed, inflexible classification in pre established patterns of such forms of expression and meta visual communication.
Such an attempt is not helpful in any way to them, to me and especially not to the audience interested in such types of visual developments.
Remaining in the speculative area I will refer to a certain kind of individual shaping, which has a generating role in the aesthetic plane, achieved through an approach that I call NEUROPHYSIOLOGIC SCULPTURE or NEURO PHYSIOLOGIC SHAPING. This name includes a particularity due to the interpretation of the words that compile this paronomasia.
In my language (Romanian), the word NEURA means NO ANGER. So here we are dealing with a NO ANGER PHYSIOLOGY that is displayed in the field of plastic expression of a constructive nature.
This display of NEURA with only constructive evolutionary valences is placed opposite to the unstable meaning of this step, which is permitted by violence and hatred.
Once this aspect of NEURO SHAPING is projected in the area of “happening” and of the visual installation, it gains a polarizing role in generating the two aspects of plastic expression.
The first aspect is the appearance of parading gestures in the visual expression plan, through a physical choreography engaged in an offensive-defensive game of successive shaping.
It is about shaping through a corporal confrontation of a constructive nature of the two evolutionary vectors, a visually projected confrontation in the field of expression. Here this whole confrontation becomes sculptural, of a fluctuating and unpredictable rhythmic monumentality, a chameleon structure, constantly seeking its own stability. A volumetric mass of a complementary tricky dynamics, an angular semiotic of a constructive defense in the metaphysics of NEURA. This combat of polarized gestures and of fluctuating posts scrolls subtly between the notion of game (art) and the art of self-defense and of meta visual art.
In other words, the gesture’s offensive de-constructive force, by projection in the NEURA expression field, turns into the power of constructive aesthetic gesture.
From this perspective, we can say that the plastic expression acts as a real vector of subtle shaping at a NEUROPHYSIOLOGIC SCULPTURE level in the abstract, speculative field and in the area of constructive confrontations at a physical, organic level.
This vast field of expression prepossesses in this case recovery dissolutions, through which offensive, structurally unstable elements are projected in the matrix of an exquisite and personalized aesthetic of a constructive nature.
I defined this complex amount of gestures and ideational polishing, with elegant postures, of an angular and complementary development of their projections in the area of abstract speculation, with transformative changes, paradoxical through the intrinsic simplicity of the approach that animates them, as CALMENEURI ( also in the Romanian language).
The second aspect of NEUROPHYSIOLOGIC SCULPTURE is called FREE SHAPER and shows the relationship between the physical factor and the sculptural object, model. In this case, the object is represented by form (sculpture) – constantly recovering its own equilibrium by a fluctuating and unstable positioning of its gravity center.
Any outside intervention triggering a come and go of the center of gravity in a recovery balance of the initial stability.
In relation to the human body, the only flat surface serves as an unstable support.
This generates a relentless tossing which, together with the bodily gestures, constructs a set of a monumental fluctuation, charged with a strong artistic expression.
By interaction with the organic, the object becomes the one which imprints, shapes and induces the movement.
Both volumes, body and object, actively work together to recover and retrieve a point of stability, and thus, through a surprising state, the impersonal object becomes the body’s shaper, which induces the latter’s movement.
During this interaction of shaping through induction, the sculptural object does not only remain an always active SHAPER of the body’s gesture (the organic form), but acquires the role of the generator of a speculative aesthetic, kinetics of a meta artctual complexity, adhering to the utmost abstract vein of plastic perception.
Returning to the original approach of NEUROPHYSIOLOGIC SCULPTURE, we must remind that the film – installation is a collaborating and revealing factor in relationship with the entire object, in key with a suggestive symbolism of a binding complementarity.
Another element of the meta visual system is the CROMATIC-ALLUSIVOID DRAWINGS, applied to surfaces of different shapes and textures.
It should be perceived as a subtle script, whose volumetric consistency varies based on the thickness and number of interventions, stratified by patient or aggressive, plasticizing overlappings.
The image is built on a volumetric structure marked by a twisted script, which then receives successive layers of colored paste in various stages of dilution, sometimes almost unperceivable.
These areas that lead to compulsive thinking about building a prodigious dynamic are hauntingly symbolic expressions of a speculative ideational architecture, marked by the same kind of implacable shaping that operates in the figurative plan, but also in the abstract interpretations.
It is about architecture, adventure, as graphic as it is volumetric, imaginative and introspective, projected in ample and exalting virtual spaces by their unreal and suggestive charm.
A sculpture that engages in building from the outside surface to the inside, by projecting its drawing with hints of colour in its prodigious subtle planes of optical illusion.
Following the ideational architecture of the entire meta visual, the thread-like graphics of a sculptural nature are not meant to be fully revealed through a flat definition.
They are placed in a promising area, always exciting and expansive, of the ongoing pluri-directional beginnings, a search constantly renewed by the first fresh impulse, unpredictable and of a delicious suppleness, almost surreal.
The concept that loads and supports this thread-like architecture is located in the speculative field; this support doesn’t benefit precisely those highly pretentious projects, frozen in their efforts worthy of a better scope of definition, therefore somewhat locking them in an ancient reliquary of classified projects.
Once wrapped in the undefined and generous cloak of an expansive promise at a level of perception, the CROMATIC-ALLUSIVOID DRAWINGS become more cooperative, allowing themselves to be more easily discovered and deciphered in the vast field of intuitive understanding.
The narrative aspect of the object drawings is a different kind of challenge that visual perception scores in the context of the entire concept.
Here it is about folding on wavy or flat surfaces of an individual-geopolitical epos, in an allusive urban plan, convulsive and exciting, which states and fixes the report that particularly interests me, namely the relationship between developments in the individual level and the grand evolutionary equations, in the socio-political plan.
As an Eastern European, I personally and inevitably experienced the evolution of certain ebullient social phenomena, swaying between totalitarianism and a bloody and controversial revolution, followed by a so called embellished evolution, of a fluctuating nonconformity.
This post revolutionary embellishment of confusion in the social and aesthetic plan becomes interesting when we project it in the plan of plastic expression. A real explosion of action and twists seasons this complicated social political saga, situating it in an unclear direction of a potential political and historical normality.
The CROMATIC-ALLUSIVOID DRAWINGS monitor, from graphic, volumetric and chromatic perspectives, the rhythm and rhyme of events, through allusive structures in a figurative note that is not necessarily entirely abstract, nor totally figurative, but one which is almost indefinable, belonging to a pattern of expression and of a speculative and gesture-like aesthetics which is entirely personal.
Thus the whole conceptual structure of the work shown here is placed in the meta artistic approach, which belongs to the most avant-garde aspect.
I would say that the OBJECTS OF COMMUNICATION that make up this META VISUAL AND NEUROPHYSIOLOGICAL WORK OF SHAPING exudes and subtly and eloquently develops into an expression, which is neo contemporary to its own aesthetic and meta artistic system.
Bogdan Lascar is a recipient of the UNESCO Gold Medal for outstanding contribution towards advancing the arts.