Meter on the moon
Ceea ce ma intereseaza pe mine in demersul meu artistic este multimea (omul-masa), miturile contemporane create de societatea de astazi, modul de gandire a omului-masa prin intermediul stereotipurilor. Abordarea acestei idei nu este atat critica, cat una ironica, ilustrează peisajul societăţii de astăzi, o societate uşor manipulată, la nivelul inconştientului, de nişte clişee, care sunt create înseşi de ea, care merge în derivă, a rezultatelor acestor clişee, a individului care face parte din această gloată, ajungând în unele cazuri chiar la absurditate. Posibilitate de a avea orice , îl duce pe omul-mediu până la extreme, până la naivitate chiar : până în acel moment când îşi permite, fără a avea un temei justificativ solid, să cumpăre ‘cîteva hectare de pământ pe lună’ sau mănâncă ‘creier de maimuţă cu maioneză facută în Siberia’
Ma intereseaza nu atat cliseele, cat modul de gandire a omului prin intermediul lor, si crearea unor realitati virtuale, absurde, de aici eu imi permit sa creez alte realitati virtual-absurde, dar care prin intermediul cliseelor ar putea fi reale in interpretarea omului-mediu.
In my works I illustrate how one tends to think, interpret, and mythologize today’s society.
We live in a time when human activities have widened horizons considerably. Our horizons today include possibilities that are greater than ever. Life is revealed to us in several ways—it contains a rich reservoir of ideas, as well as complex issues.
It seems that there is nothing impossible—all is an inflation of possibilities that reach the “heights” of bizarre hallucinations. This phenomenon is unprecedented – the fact that one can buy land on the lunar surface or on another star goes further than normal.
Contemporary world, our world, everyday world, the horizon of our everyday experiences, is defined to assert that the world of information is glutted with more or less controlled events to a point where life becomes a magma of pictures and sounds in all areas, from geopolitics to the privacy of our sexual fantasy. Information spectacular holds the essential quality of removing the man from any direct experience of the world (however paltry the experience!), and instead, throwing him into a simultaneity conjunction and an interchangeability in which any reference to the past, any image of otherness is meant to cultivate an eternal present that is always better than the past.
These paintings depart from the documentation of useless inventions of a certain period that are absolutely absurd, and that evolved in the first place simply because they offered extra opportunities of reaching beyond the sphere of normalcy.
I am interested not as much in clichés as in the human thinking through them, and in their application in the creation of virtual reality that extends to absurd. Here I take the freedom to create other virtual reality non-senses, which, however, appear to be true to the human interpretation if viewed through clichés. I try to create spaces, ambiguous and absurd, in the light of existing clichés and myths in society—individual spaces that define today.
