The Subject. Edges and Bounds | 29.04 - 10.05.2016
... When it comes to painting, I am concerned about what happens within its fixed bounds. I do not care to get out, but to stay there. To seek new forms, vocabulary, that would take me aback, get me out of my natural habitus – indolence – and hype me up.
In this sense, the type of painting I’m practicing has a performative nature (jazz) – the current gesture is spontaneously generated by the previous one. Provided that, for example, I already have a stain, what comes after is a new stain or a line complying to the original. The form I begin with is quasi-random or, if not random, it is something: an image, a subject to be denied, hidden, because it might have already failed me.
The fact that the image is abstract allows me to express a state that I couldn’t set forth in words. It leaves me diluted into the waters of thinned thoughts, snatches of ideas, sensations. The today’s sunny tarmac path I am walking on seems different from yesterday. Stepping with my shoe (which is, again, not the same as yesterday) on a tarmac makes me believe that I belong to something that is radically shaping myself. This might be the state I try to invoke here.
But my studio-painting is neither an depiction of a sunny tarmac, nor a pathetic/abstract "self-portrait". It is the whole amount of scraps of thoughts that otherwise - through text, words - could not become discourse. A kind of enormous elastic sphere which moves inside clearly defined structures (walls), leaving traces of her skin and bounds on their surface. (Sorin Neamtu)