Sector 1 Gallery, Bucharest
Minimalist aesthetics and conceptual art have rethought the practice of painting and drawing. Our booth aims to showcase a perfect complementarity:
For Norbert Filep minimalism imposed an essential ethical position and the clarity of conceptual art employed the integration of materiality and texture. Structured by architecture and articulated by geometry, the discourse on drawing became straight, intimate, relevant. Inconspicuous in its presence, drawing remains vulnerable, but negotiates a private reality. Isolated by context the drawing can be an illusion, a fantasy, a representation.
Pavel Grosu aims to map the space of his main anxieties, bringing latent contents to the surface and ideal forms using as main source of inspiration for his compositions photomontages containing fragments of images in which human figures, public gardens or familiar interiors appear in relation to ancient Roman or Greek sculptures. Reminding that in antiquity the sculptural forms were painted to provide a three-dimensional copy of reality as a spatial counterpoint to the painted frescoes, the artist brings into question the complementarity between painting and sculpture.
In Marcel Rusu’s strangely spectacular paintings, personal memories, family photos and holiday snapshots are turned into subtle memento mori, which fascinate by means of tension between sensuousness and a particular feeling of transience. He uses figurative devices meant to partially hide or blur fragments of reality - veils, curtains or strange chromatic filtering, with the paradoxical result that both the haunting character and the artificiality of the pictures become all the more poignant.