Anca Maria Ciofîrlă
Prezentare Demers Artistic
Anca Ciofirlă and the internal memory of painting
Clearly, the artist’s mind no longer follows the standard rules of creation which essentially involved a somewhat predictable path of knowledge: the knowledge of the external world, knowledge of the human being, self-knowledge. Regardless of how many access options may have been towards these goals, the underlying meanings were converging and the arrival points could be easily assimilated into the same purpose. This approach, however, does not occur in contemporary painting anymore, not only because the artist has lost his/ her innocence and is no longer beguiled by theological thrills, but also due to an excess of self-consciousness, where skepticism and lucidity play an essential part in gaining knowledge of one’s own limits. The outside world is now the Infinite itself, the human being is the summary of the same indeterminacy and the Self emerges by exploring an extreme relativity. However, since knowledge, as a principle that cannot simply disappear from the creative act, has found its place in the only area the artist can still master without arrogance, namely the perimeter defined by Painting itself, by its codes and languages which, imperceptibly, become metaphors of all lost external realities, metonymies of the Whole that can no longer be grasped from a single perspective. For Anca Ciofirla this amplified world where external events, human presence and self-awareness coexist organically, are compressed and swallowed into the only possible reality, that of the painting itself. The world of her paintings, this austere summary of the entire Cosmos, does not refer to the narrative events or epic of this world as read from the outside, but solely to intrinsic events, to its superposed ages, to its internal memory. Although, in terms of attitude and actual dynamic of the emotions, her painting could be interpreted in a temperamental, voluntaristic key specific to an expressionist nature, things are, in fact, far more complex and well camouflaged from a hurried viewer. Anca Ciofirla’s painting agglutinates different moments and various experiences in playing with languages, by bringing into simultaneity what, in terms of concept and expressivity, was consumed in a succession. In her artworks we find, settled into an unique expression and into a vision of undisputable coherence, instances of realistic painting with apparent, figurative landmarks, dream visions with strokes of nightmare allusions, an Impressionist landscape and atmosphere, broken syntaxes, divergent codes and combinations of surrealistic elements, along with pop art overlappings, abstract and deconstructive combination games, references to oriental decorative patterns and to animal ornamentation, post-romantic hints of a symbolist kind. And then, on top of all these layers of hidden memory, we are striked by the unleashed flow of the expansive gesture, nervous brush stroke, voluptuous chromatics and rebellious temperament of the expressionist feeling. This painting makes no reference to anything outside its own structural energy, but, in a surprising move, it recomposes an entire lost diversity only by mobilizing its irrepressible inner memory, its intrinsic temporality. If painting, in general, shapes and reconstructs space, Anca Ciofirla’s painting recovers and updates time itself. The artist is painting a memory of painting, but not a factual, archiving one, but a memory of the inner transformation attained by means of the exclusive vehicle of language and codes.