ART Habens
Ilinca Bernea
concern is to keep the horizon of the text wide open. Therefore my choice is for semifigurative artistic expressions: they have a higher degree of ambiguity, they are more mysterious, therefore more appealing.
We have particularly appreciated the way your love for lyricism of the metamorphosis leades you to combine symbolic elements with a figurative approach, to create an effective channel of communication between the conscious sphere and the subconscious level. This creates a compelling non linear narrative that, playing with the evocative power of reminders to universal imagery, establishes direct relations with the viewers. German multidisciplinary artist Thomas Demand once stated that " nowadays art can no longer rely so much on symbolic strategies and has to probe psychological, narrative elements within the medium instead ". What is your opinion about it? And in particular how do you conceive the narrative for your works?
What I am trying to do is capture the infrareality, whatever is hidden under the curtain of cultural constructs and interpretations. I would avoid any term from those shaped and employed by psychoanalysts, although I am definitely the adept of C. G. Jung and G. Bachelard. I prefer not to do it because the " unconscious " became the hobbyhorse of the actual academism and of doubtful theoretical speculations. What I can say is that one cannot make art inspired by theory, on the contrary, in order to make art one has to get rid of any theoretical influence from his( her) own feeling and understanding. If there was ever a time when I wrote and painted really badly, it was when I fattened up on studies. I needed 10 years of rehab. You turn into an artist only from the moment when you get undressed of any cultural vesture that blurs or distorts your
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