Vlad Olariu

03 – 18 April 2015

What lays behind the artists’ finished work, neatly sitting in the bright exhibition spaces? Careful planning, an aseptic play of ideas? Yes, but first and foremost, especially for a sculptor, a mountain of waste: unfinished works, broken pedestals, mounds of cement, heaps of plywood, drywall, OSB, polyurethane, bitumen, piles of concrete and so on.

But isn’t that what some would say represents 21st century sculpture: waste? Assemblage and unmonumentality. The usage of cheap materials, making something from almost nothing . Therefore, this personal lapidarium – remnants of objects that one would consider they did not manage to coagulate a meaning – has become the focus. Because it is more about the process (of transforming, hence creating), then about a finality, whatever that may be, if there is one, since every end is a new beginning…

‘Physiognomic fallacy’ was a term used by E. H. Gombrich, which explored the assumption that artistic forms are direct reflections on the nature of the society that created them. In this culture of accumulation, the studio, the home, and even the public space become a warehouse. We might as well end up turning earth into one.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
The event is part of the project – Contemporary Art and Culture for Communities, coordinated by The Paintbrush Factory, and supported by a grant from Norway, Iceland, Liechtenstein and the Romanian Government.