Prezentare Demers Artistic
He was my student. I met this young man who was discreet yet energetic, perseverent and vivacious. As a painter, he was wrought in a frenzy of exhibitions later abandoned, with scholarships and postgraduate pursuits; he adopted a smooth sailing, with surfaces painted unmistakably in Marius Frăţilă style, dismissing or not generally accepted conventions of painting, disregarding or not conventional exhibitions. It is painting for the sake of surfaces, I am suggesting that a body (mouldable work) commands these paintings through its mere presence. The body of the exhibition, the body of the painting, the body of the painter. Contour lines, shadows, horizons and auras, objects, all create the impression of body ready to be moulded into painted and exhibited surfaces. Going as far as imagining (mouldable work) exhibitions in which the painter exhibits a body of „art reviews”. I propose a re-enactment habeas corpus: no painting exhibition, without the painter’s body.
Marius Frăţilă’s painting can be easily understood in the context of European painting, 1900, which does not dismiss the figurative with the intention of abstract art, of self – exposure, of painting („as painting” in the conventional mould) and of investing abstract art into a new platonic figurative art. He paints, on sails, on kites, on écrans, on shields; he paints plainly on the palette.
Noteworthy, in 2011, Vinea House publishes „an illustrated book” with reproductions of Marius Frăţilă’s paintings.
Also notable „Readings from Iova & Debate with Razvan Tupa at «Tramvaiul 26», 9.02.2013: Assisted, by the paintings of Marius Frăţilă”.
Marius Frăţilă proposes future. I accept his proposal.
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