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UAP | August 20, 2019

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Ciacâru Mircea Răsvan

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Mircea Ciacâru
Ciacâru Mircea Răsvan
Adresa: Piatra Neamț – România
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Prezentare Demers Artistic

Mircea Răsvan Ciacâru or the Reduction to Painting

In the eclectic and excessively experimental context of the visual arts today, the painter Mircea Răsvan Ciacâru dares (not without risks!) to come forth with a new challenge. Namely: a post-academic style which subtly combines chromatic sophistication with a kind of formal accuracy taken to the extremes. At a glance, this could leave the impression of an artifice – a demonstrative pursuit meant to ostentate some long-practiced technical skills. However, what I personally find in this series of explicitly accepted rigours, is a true master’s approach: the artist conceals improvisation (without rejecting it completely) but rather dissimulating it under a “classicist” form of idealism, with its balanced and perfectly “finished” contours, that seem to observe all the rules of the art. I should even go farther and suggest that this is “Ciacâru’s own way to go against the tide”; when almost everybody else rushes and leaves many “unfinished spots” in their visual dissertation, relying on theories about “creative freedom”, he seems to meticulously persist in elaborating an opera chiusa, subjected to the utmost exigency.
It is not without reason that the artist prefers to work on the “canonical” species of painting, such as still lifes, (self-)portraits or (pseudo)landscapes. This approach, however, does not exclude innovation. Because, after all, with Mircea Răsvan Ciacâru, everything lies in the composition, and any subject he chooses is eventually submitted to a visual “spiritualisation” process, thus becoming the expression of a “pictorial idea” (similar to what we call a “poetic idea” in literature) that tolerates a certain amount of originality, though moderate, well-controlled, and always supported by an inner motivation. In a nutshell: the artist works “with sense”, avoiding any futile excesses, on the one hand, while being free from any tiresome conventions, on the other hand. His main concern is that the contemplator / audience should never forget s/he is looking at a painting or is visiting an arts exhibition, regardless of where it might be held or what theme it might present.

(Emil Nicolae)

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