Darius
Hulea

My name is Darius Hulea. I'm born in January 1987 and I finished my studies at the University of Art and Design Cluj-Napoca, Sculpture Department, bachelor's and master degree.

My whole activity is outlined around a welding machine, a hammer, a pair of pliers and a multitude of metal rods of different shapes and sizes in a small industrial studio. With these simple tools I begin to bend, beat, position and weld thousands of pieces of wire next to each other until their agglutination will outline on the horizon the impression of a human or animal detail.

Analyzing all the ideas of the twentieth century on the concept of "Drawing in space" I came to use this idea through historical fragments that now reflect the contemporary vibe. I am now drawing 3D parts of the unknown (missing) history that awakens to the public anamnesis of the past, of the Renaissance, of the academic study of form, in an industrial material that appears slightly shaped to the appearance of a thread hair. Now each piece of wire expresses the touch of a pencil left on paper. The difference is that the paper becomes space and the pencil strokes become parallel wires, overlay and twisted in the expansion of the shape. I gave up the compositional sketches on paper, in favor of direct iron sketches, thus provoking the creative self the freedom to continue or reconceptualization a fragment started and abandoned. There is no draft or scrap in this artistic universe.

Everything becomes understood as soon as each viewer has the power to put the imposed fragment into an incomplete puzzle in everyone's subconscious. Each individual will solve another puzzle because each sketch is left to the conscience of each individual to continue their drawing. Thus we will have infinite forms to which the exposed fragment can become part even if the fragment imposes a certain face. We can also imagine around the face the cultural epoch that belongs it, answering only the question: Who and where does it come from? Sometimes the anonymity of the character can even change the name of the title, for example: a fragment of a hand holding a cut off head. As a first impression we could say that it could be Perseus' hand with the Medusa's head, but if the detail of the snakes is missing, we can reinterpret the theme as, the beheading of John or the head of a king who loses a battle, a victorious gladiator and a defeated one. Emphasizing the anonymity of the fragment and adding any unique detail I can arouse in a viewer mind infinite variants of the missing drawing. Most of the time I want to let the public continue it, finishing the drawing not only imaginary but also physically. This will be the next stage, my performance or the new kinetic art, a drawing in a continuous movement in time and space, which can be “erased” and restarted.