The personal artistic activity reflects an pendulant practice between concrete observation and intellectual game, where the freedom to express ideas through various media such as installation, object or photography does not go against the classical methods of drawing or painting, all this, becoming the material support of recurrent questions.
My approach is oscillating between the view from far, from close, from afar and from inside, focusing on social issues or ars poetica approaches. The poetics / politics of space on the micro- and macro- historical contexts, the persistence of the past traces and its repercussions in the present, and the connections between various levels of reality also represent areas of interest for me.
LIVING QUARTERS, 2018
series of assemblages, recovered wall fragments, furniture and family photo frames, 150x100 cm, part from Common Space Exhibition, Art Encounters/ISHO, Timişoara
This ensemble of works is a symbolic reconstruction of the vibe of certain rooms within the living quarters – the dining rooms and the kitchen, using a repertoire of recovered materials that were part of such settings. These are the spaces where family members spend time together; as a rule, they bear the mark of a woman’s involvement and devotion, trough activities which many times go without being visible or quantified as social contributions.
No mirage?, 2017
Site-specific installation - Window and the natural light, existing ramp; an old map of the neighborhood, on the top of that, and one of the world, along the ramp, transposed in stencils; transparent platform, suspended, containing gel microspheres silicone; size 200 x 600 cm, h 250 cm (part from UNIVERSALLOWED Exhibition, curator Maria Orosan Telea, Batteries Factory Tower, with Avantpost)
A former battery factory with its history and abandoned objects, becomes a universe allowed, partially integrated in the artistic processuality by this work, during the „Universallowed” exhibition of the Avanpost Platform in Timişoara, for which it was created.
The work proposes a game of perception and understanding in relation with the multiple meanings of the word "mirage", the aim being to reflect on the immigration phenomenon, to which the work is visually referenced.
Under the direct influence of the public who can interact with the small spheres (which grow and float in a water film) they are spontaneously reconfigured into new community forms. The atmosphere created by this arrangement is meant to maintain the mirage idea needed for these reconfigurations.
Temporal chain – ante- and post- ”me”, 2017
Site-specific installation, wall built and painted with an ornamental motif made from detailsof the works arranged at its level, old furniture pieces, a picture taken by my grandmother, detail from a personal text installation, a page of my daughter's diary, overall size 260 x 400 cm, h 250 cm, 2017 (UNIVERSALLOWED,Battery Factory Tower, Avantpost Group, curator Maria Orosan Telea)
A placement (extension) of myself in time through three hypostases with the specific characteristics of each: the “given” in relation with the external “turmoil” and decisions made at a certain moment... a perpetual reinvention of self and meaning... Tricking the nothingness or merely existing? Under the apparent and pretentious self-positioning in time through art, I actually present a short history of my family’s creativity, on the genetic lineage.
At the same time, this work is a tribute to my grandmother, whose creative qualities were put to work in various types of weave and needlework, in matching the colours, choosing the yarn threads and organizing motifs all through my childhood. Her generous use of the so-called “attributes of femininity”, although not every woman possesses them just by being a woman, was probably the framework for my own creativity. My teenage daughter’soutstanding creative manifestation through picture diaries, as an extension of myself, continues the red thread of some fundamentally individual artistic manifestations.
The installation proposed for exhibition contains one of the pictures sewn and framed by mygrandmother – they still hang on the walls of the house I grew up in, just like they were during her lifetime - two elements from a personal work entitled Actions, states, passions – each of them containing the transcription of a number of action verbs, where some take place horizontally and others vertically -, as well as the picture diary of my 16-year-old daughter – opened at a page of her choosing and encased. The work that I decided to re-contextualize here represents a remarkable moment in my artistic orientation.
Combinator Optimization, 2016
Intervention - text template and protective foil, about 120 x 150 cm, 2016 (part of the Hidden Agenda exhibition of the Avantpost Group, at the White Night Galleries - No Man's Land Exhibition, Residence Stage 9 , Bucharest)
This work has been part of the Avantpost Group Exhibition Hidden Agenda at the White Night of the Galleries - Exhibition No Man's Land, Stage 9 Residence, Bucharest.
Through the Extreme Combinatorial Work I propose a game of combinations of letters, suggested by the coincidences between them, which are found in the composition of the written words (ASEAN, EFTA, NAFTA, SAFTA, TPP, TTIP etc. - names of the world economic change treaties), by the resulting correspondence, symbolically suggests the structural dominance of permutations (with all subsidiary supporting structures) that draw the world's new power (power), establishing sometimes indifferent policies to the real needs and opinions of the population.
Installation by two-piece (re)write exhaust signals disposed one inside the exhibition, one at the way out; approx. dimensions 20 x 30 cm (work exposed in the dark during the Night of the Galleries, Exhibition Nightshiftt, Plan 0, Timişoara).
Starting from the almost identical appearance of two words - Exit and Exist, I set out to make a visual game, a sort of ophthalmic test of difference.
In the darkness offered by the concept of the exhibition, both as a means of expression in cooperation with the new technologies and as a subject of reflection, I propose to use an EXSIT visual / luminescence mark above the entry as a perfectly justified element in conditions of low visibility of a space closed, except that it will have an extra letter... The presentation of this will depend, in the first instance, on the perception of the viewer, and then, by referring to a similar indication elsewhere in the exhibition, discovering of the other signal – COEXIST, to be offered a further evidence of the work.
By the two signals the two EXSIT - COEXIST expressions, with the spatial distance between them, I wanted to provoke the creation of the connections and the sensations in this space, according to each viewer.
Coexistence is a choice in an immediate context, but from a larger perspective it’s a fact that must automatically involve responsibility for the others. The too, coexistence and existence, are connected.
MEDIAL SPACE, Galateca Gallery, Bucharest, 2016
This project is an example of drawing which later became a site-specific installation and was also re-discussed through painting is what I grouped under the name Spaţiu medial [Medial space], irrespective of the ways of expression used.
In this configuration of drawings, several conceptual layers have gradually come one after the other to converge towards the same result, of which I was more or less aware at that time. They are based on reflections like the one formulated very succinct by Alfred Adler: “the source of unhappiness in society resides in interpersonal relations”. These drawings are also based on my personal need to find a perception of the world that is positive for existence, beyond the generalized relativism which cancels any reference points.
Thus, to simplify things, I started from the idea that social communication requires the relationship between at least the smallest relational unit, for example: you and I, and this happens usually in relation to the frameworks of the evolution of existence: home, school, workplaces, all rendered as frames that come one after the other in an intercorrelated spatial construction. I tried to come up with a visual structure that would suggest all these in a succinct manner. That is how the first three drawings appeared, and subsequently their spatial transposition, which suggests (through non-Euclidean geometry, which substitutes them in the background) a macro- and micro- geometry, based on curved lines that denote certain spheres.
The difficulty of communication resides, beyond the systems and languages used, in the difficulty to get out of our own sphere, out of the frames and patterns we lock ourselves in. This is the reason way, these representations were later cleared of the possibilities of closing in order to remain simple horizontal connections between spheres. This representation suggests much better this type of communication in which orthogonal spatial delimitation is no longer justified. This geometry places things on another scale, which is big or small enough to make real communication perceptible from other levels, encompassing also inanimate objects, animals or entire universe. It is an attempt to suggest the organization of the empty, not of the full space, of those interactions that escape the human eye, a kind of interstitial space or a medial space.
I do not use this type of approach to “build” an ideal image of the possibilities for inter-human communication, but to discover a level of perception starting from which this communication is more evident. To me, this means a support for a positive personal “perspective” of the world. (or a support for existence)
This obsessive idea of a possible level (or levels) of natural communication between things has found support in other fields or theories, from quantum physics to bio-physics, from the noticeable world to multidimensionality, all of them leading to the same conclusion I reached by using geometry.
This type of drawing was also adopted in painting; I consider it a rather conceptualized painting, because it does not focus on the attributes of painting but on the resuming and going deeper into some concepts / ideas that were initially experimented through drawing.
Despite the fact that drawing has been my focus only in the past five years, I have realized that it has accompanied the entire course of my activity. It actually becomes a probing instrument and a way of expression in itself, so that I named it prospective drawing.
The simultaneity of the bi- and tri- dimensional representation (outside the rules of the linear perspective), then the oscillation between drawing, painting and installation, both become relevant in my eyes especially from the perspective of the different levels of reality and the connections among them, situating the visual point of view at that level where the types of conventional visual representation is not necessarily justified anymore.
Solo show STRUCTURES IN EQUILIBRIUM, Centrul Cultural Palatele Brâncovenești, 2016
Dynamic configurations, 2016
The thorough research performed in the domain of natural sciences made us familiar with the iconography of “the invisible” (from microbiology to macrocosm), which first means a (“proportional”) relationship between the human being and the world, but also the opportunity to contact the multiple facets of reality. In my creation, this “extension of regard” has amplified its share – together with the everyday routine comments acquired through works approaching photography, text and installation – after I discovered Emanuele Coccia’s philosophic concepts (in Sensible Life), but also Basarab Nicolescu’s theory of transdisciplinarity, which analyses “the multifarious levels of reality” and their in-between communication. The works in my exhibition present the modes of spatial configuration related to these conclusions, to the series of processes articulated with incredible coherence – both outside and inside us –, to the flux crossing and integrating us, turning us into “a detail” within a larger context. I try to represent the uninterrupted structuring taking place at the level of the sensible world (by suggesting articulation, movement and vibration) and to “embody” (analogically and imaginatively) certain processes (nervous influxes, electromagnetic waves, etc.), using a combinatorial geometry able to render the transformation and logic present in nature’s developments. For the time being I approached the possibility of achieving the geometric shape of the AND spiral, synthesized through the vertical straight lines which, in their turn, become a starting point for associations with other types of visual representations: seismograms, electrocardiograms, sonorous vibrations or electromagnetic waves. At other times I used to reflect upon the four-dimensional configuration of the fertilized ovule, upon the molecularstructure geometry of certain substances, etc. I think Coccia’s philosophic idea stipulating that “the identity of an object coincides with the force allowing its very formation” or the one referring to the importance of an intermediary space, of a tissue interconnecting things, he used to call media (“a relationship of continuity between spirit and reality, between the world and psychism “), can find resonance at everyday level too. Transposed into the stylistic terms proper to a(n) (abstract) language conceptualized by resorting to the characteristics of geometry, I need this type of reflections due to the coordinates they offer in relation with a world approached in its complexity, the more as it stands for a counterbalance to everyday demands, that is to the confusion, incoherence, Liliana Mercioiu Popa instability and incertitude it offers.
Recent Culture, 2015
Site specific installation, overturned easel, debris, plant culture suggesting together all the meanings of the word culture in the dictionary, (part of the group exhibition Avantpost - Connection with the present, curators Nathalie Hoyos & Rainald Schumacher, Art Encounters Biennale Appearance and Essence, Memorial of the 1898 Revolution, Timişoara)
In spoken language, phonemes give words the opportunity to look for their meanings, sometimes revealing surprising analogies and interpretations. This is the case of the word “culture”, which in Romanian has certain meanings when it is pronounced/written correctly – cultură (crystallization over time of all values of the humankind, care for harmonious physical development, crop production), and totally different ones when wrong spelling is employed intentionally, for instance cult ură (cult – exaggerated admiration for someone or something, and ură – hate, strong feeling of hostility).
The artwork bring in a context that talk about the recent history, the period after the revolution of '89 until now, visual references for the word "culture" (also meaning physical or plant culture), causing the public to observe and meditate on the interactions between them, but also on the "pronunciation / understanding" of the word in relation to this context.
Recontextualizing the work would bring with it a wider perspective on dehumanizing and polarizing constructs of cultural separations through which new borders have been fabricated.
What about you?, 2015
The artwork What about You? was exhibited during the first edition of the Biennial Art Encounters – Appearance and Essence, in Timişoara (2015), being included in the section Art in the Public Space.
The place where it was exhibited – Theresia Bastion, a landmark for the history of Timişoara, after architectural rehabilitation, it stands for valuing the past into the construction of the present. Another reason for choosing this particular place (a passageway) was my specific wish to facilitate/trigger reflexive dialogue with the passers-by. Through the question that it asks the public, it requires the continuation of the proposed discourse.
This artwork is meant to be an existential question. Rather than "signifying" something in a formal way, its aim is to challenge the viewer to perceive the meaning of the question itself. Its ambiguity can have a diverse impact: in front of it, one can stop and wonder about the sense each individual gives to their own existential journey.
For me it’s an ars poetica work, the possibility of establishing a dialogue between art and public being essential for my approach.
It won the prize awarded to this section at the Beta Architecture Biennale in Timişoara in 2016.
(To consolidate, “to strengthen, to make more durable”, where con- is a prefix meaning “together”, contributing to noun formation; solidary – 1. Connected to someone or something with a shared responsibility and interest; 2. Connected, in a construction, to another piece or object.)
By means of the gesture multiplying a spatial construction, by now emblematic for a series of artworks in my portfolio, I wish to make a reference to the notion of abutment, in a symbolic gesture of solidarity/appreciation/support of the efforts made to carry out the project of this museum.
In a symbolic key, the spatially structured module I start from stands for the need to reach a state of balance, to shape up a positive environment, to set, at an individual level, a number of coordinates in the relationship with the outer world.
Solo show Variable Geometries, Jecza Gallery, 2014
My artistic approach envisages the tension between nature (the physical realm) and daily reality, between science and mystery.
Working with a variety of media of expression – the likely effect of complex reality, ever more provocative and in a constant change – I give free vent to the connections arising both from the diversity of the matter, as a support of the artworks’ materialization, and those stemming from probing into various areas of interest. Experimenting with the potential of painting, drawing, objects, or installations, I search for the point where they interact, in an attempt to convey the slightest reflection of the richness of existence, which I consider a multi-faceted, interdependent structure. The questions I pose to my own inner life in its relationship with the outer world, the need to let myself be surprised and the joy of discovering new evidence, new ways to cope with the multiple aspects of reality, are the main impulses engendering expression.
Placing thus in opposition the existential turmoil, various social aspects – always perfectible and, still, always precarious or perishable – and the careful consideration of the iconography of the invisible in the field of natural sciences, from microbiology to macrocosm, I felt this search was a promise, the chance to discover and contemplate the models of an uninterrupted functionality and fluidity.
My readings in the area of quantum physics or non-Euclidean geometry have recently started to expand the repertoire of my imagery, at the same time leading the way to still uncharted areas, making room for other possibilities, other geometries.
When I work, I have the constant feeling of a perpetual benchmarking between law and contingency, which, on a personal level, bridges the gap between the landmarks of the concrete and the freedom of imagination and intuition, between the need for certainties and the thirst for mystery.
Solo show What about You?, House of Arts/Pygmalion Gallery, Timişoara, 2011
Text accompanying the exhibition
Commuting in a dialogue between the visible and the invisible world, as well as between different discourses (painting, photography, installations), all I do is give free vent to the need to muse upon things, phenomena, and events, which draw closer and challenge my imagination. A plain metal structure can be as evocative as the structure of the human DNA, due to their visual impact and their potential to make my thoughts audible.
We are used to being told stories – a habit that moved from the media to visual arts, when the latter were inquisitive and equaled a debate camp, obsolete as it was, room for successful recipes (certainties).
I believe in those images which need very little help to come to surface. I believe that too much matter, colour, shape and message can only shift our focus towards purely artificial, fabricated appearances, which are rewarding only for immediate consumption, which give you only temporary satisfaction, but which can become toxic, if taken in large quantities for a longer period of time.
Joseph Beuys used to talk about the naturalness and simplicity that works of art should possess. He believed it was up to the artist when a certain object was ready to become work of art, provided the artist could see what messages were conveyed by the wood or the stone (the artist’s materials). These materials have their own, independent personality, which tends to emerge, to become perceptible. Taking the example of an animal’s skull, Joseph Beuys argued that, although it wasn’t a human artifact, this piece was still a work of art – of visual art, since it was the result of a long organic process, which sculpted the bone in time, following each stage of the organic formation of fluidity.
Metal Structures, photo unit, photographs of variable sizes, 2010
By means of photographs taken of metal structures used as reinforcements against floods or land gliding, I chose (a decision made on the spur of the moment, while contemplating them) to discuss the fragile border between the free, direct perception of reality and the restrictive perception, imposed by external factors.
The panoramic exposure seemed to remind me of the beauty of simple geometrical forms (a Platonic perception), since these structures secretly blended with nature and with the morphology of the area. The close-up (rendered even more powerful by the juxtaposition of several such images), with the cobweb of lines overlapping in countless layers, opening endless labyrinths, reminded me of a Kafka-like, absurdist space.
Vestiges, photo unit, photographs of variable sizes, 2010
Tell me what ruins one civilization leaves behind, to tell you how great this nation was. Such vestiges can hardly be subdued to the pressure of time. We can all feel the traces that the more or less remote history has left in us, which affect us as individuals or communities, whether we are aware of it or not.
The photographs in this unit catch some of the visible aspects of such traces. At the outskirts of Timişoara, these vestiges of our society invade our space – just like “the dead” at the wake, whose presence fills the room and keeps the living captive (a motif in a play by Eugene Ionesco) – oppressing the city line and the landscape of the solitary plain with their heavy, accidental presence.
WHAT ABOUT YOU? (concept and mock-up), 2011
Text installation, on cardboard, letter size approx. 59/50 cm, unit size varying according to exhibiting space.
All that artists produce addresses the public. The absence of the public causes the work of art to vanish.
Despite our effort to convey an explicit message, we end up with the subjective interpretation of each viewer. Consequently, I believe the artist should avoid this,
since it also means that offence is given to the individual’s eternal freedom of thought.
That is why I think that all a work of art can do is to stir our curiosity, to question us, and to impress us with everything that its mere presence implies.