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A nuclear fission of the image

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For some time now Marilena Preda Sânc’s painting has entered a period in which the artist’s spirit does not feel any longer what it is doing as language only; it feels that language wants again, as in another initial epoch of modern art, something else. From a previous visual poetics of maximum realistic cruelty, powerfully exploring the corporal expressiveness and the psyche of a profoundly feminine universe, the present drawings and paintings make us think of a kind of sliding into the void. Markedly non-representational, they propose to us only traces, spots, signs, shining trails of an explosion both inner and visual. It seems that, consuming the time needed to take possession of one’s own ego and also of the individual body sheltering it, the artist’s imaginary universe simplifies, clarifies, purifies itself and dreams of boundlessness. These images seem to be the expression of a world behind consciousness, beyond senses and shapes, plunging bravely and self-annihilatingly into the depths of the subconscious or of the sub and supra atomic universe. It is not by chance that these images are entitled “cosmic objects”. The cosmic realm is one of the few in which the modern spirit can still invest its deviated metaphysical instinct. Within the cosmic realm, the contemporary visionary imagination can reconcile the psyche’s irrepressible aspiration towards the supersensitive with the beliefs of our technical and scientific rationality. There, in the intuition of the cosmic, a fusion may take place in our widened perception of the psychic and phenomenal world, as the psychology of the deep collective subconscious, nuclear physics and the visionary spirit of the artist palpate together, in fact, another reality which is pluridimensional, beyond the limits of the senses, boundless.
The dazzling cosmo-morphism of Marilena Preda Sânc’s present images does not illustrate at all some recent SF appetite on behalf of the artist. Their subject, which is also that of all modern art, is in fact unimaginable. Actually, these images are abstract, as they mean to visualize elliptically an abstract reality, that unique reality behind the object nature of things, and transrational, postulated by modern physics and psychology. These images intend to approximate, to fix by gesture and chromatically, for the artist as well as for the others, the same obsession which constantly haunted the visionary mind of many modern artists: “that super terrestrial life behind the objects” brought up by Franz Marc, that “expression of the spirit of matter” mentioned by Mondrian, “that secret background of things, the original law”, Paul Klee refers to and so on. This is the specific form in which the modern artist may live and conceive “the spiritual ripe to the point of revelation”, as Kandinsky says. This obsession with the non-object reveals a mystical dimension of modern art which was sometimes neglected and sometimes overshadowed by critics or even by artists themselves. In these abstract images, the content of a broken and dilated psyche, looking for its own depths and limits, is identified, is superposed, coincides with the boundless depth of universal nature. In that point, as C. G. Jung says, “the mind’s background is nothing but the world”. The metaphysical instinct is diverted from a pantheist élan: the artistic spirit lets itself be invaded by the original abyss, the cosmic substance of the universe: in other words, to quote Kandinsky again, great abstraction meets and coincides with great realism. If the artistic spirit should necessarily destroy the worldly appearances to go subsequently “beyond” the world and to accede to a subtler meaning of its profound metaphysical need, then we must accept and admit this „nuclear fission” of the image, its shining trails and spectacular sheaf of fire and impressing explosions, as a necessary and foundational aesthetic experience.

(exhibition catalog Marilena Preda Sânc - Cosmic States / Flying Souls), U.A.P.R. București, 1992, p. 4

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