This work is part of a series that mixes ideological
narratives with Expressionist contours. When I say ideology, I refer exclusively to its original meaning, as
Antoine Destutt de Tracy defined it, in 1796, as a “science of ideas”. When I say Expressionist, I underscore emotional
overreactions, I underline a nurturing Modernist sentiment of angst, and I chip
away at the reactionary panache of any Realist praxeology. Finally, I nuance
these contours with a convoluted impulse to hyper-inflate Abstraction, with
acrylic spices such as an Outrenoir (apud Pierre Soulages) inquiry, some
palette-knife(d) cacophonies (à la Jean-Paul Riopelle), or a handful
of non-cognitive kinetic alliterations (via
Georges Mathieu).
Being an artist, I twist reality to make a
point. So, sometimes, I feel like a poet - which is a pedantic way of admitting
that you should not necessarily trust me, as several long lines of canonical
wisdom, from Plato (“The Republic”, Books II, III and X) to the Quran (Surah 26
Ash-Shu'ara, Ayat 221-227), have emphasized with gusto. But being an artist
means that I am, sometimes, in the mood to become a trigger.
This particular work is about the Berliner
Mauer. It’s about Brexit. It’s an open invitation for the viewers to trespass
their borders (or “backstops”) of choice, to bisect their own biases, and to
bookmark Balzac in their browsers.
UNIQUE ARTWORK
> format: XL > size: 153 x 113cm / (145 x 105cm)
> medium: acrylic painting, copper metalwork
> support: magnani paper 300gsm
more
on: https://alexandru-crisan.com/
