Prezentare Demers Artistic
“am grateful as he has offered me the opportunity to be the witness to this evolution. We can expect supreme deliberations of his imagistic “luggage”, materializations of hisImaginary journeys” ( The Apocalypse ) Nastasa Fortu
Ladies and gentlemen,
Taking part in the opening of this exhibition is a great joy for me. That is because this inauguration,under the jubiliary circumstances you already know, is meant to establish, in fact, what Mr. Ciuca used to say, a Personality, I think and Mr.Ciuca thinks too, a very important personality of our art.
The art belonging to Mr.Fortu is, first of all, the expression of liberty in general, knowing that the artist’s work is liberty itself. In this case this form is excellently a manifestation of the state of freedom.
In 1904, in Viena, Paul Klee stated in a conference that the world in which we live is not the simple world, concluding that there are a multitude of other possible worlds.
Nastasa Fortu invites us on such a journey, into a possible world which can be but imaginary, “diving” into a world, into a space belonging to the inspiration, to our familiar faculties,involved in a more complex reality than the simple glance at the everyday reality that surrounds us.
I think that Nastasa Fortu represents an original area in the contemporary imagism just through the freedom the assumes. I say “ he assumes “ as it is kind of difficult ‘bet’ to sustain, exist and function within the unusual parameters of everyday life.
Generally speaking, our everyday existence undergoes permanent erosion, routine exercise and all kinds of dayly occurrences and emergencies. All these make us have a restricted and limited relation towards Art. Nastasa Fortu surpasses this screen of the immediate reality and “dives” in the space of imagination.
It is evident that ,in the horizon of the XX-th century art, such approaches have been recorded since the 30’s at the same time with the surrealism. I consider that the chance this travelling far and wide in a fabulous world can give us, does not empty esthetically within the frame works of one endeavour or another. It remains permanent for each artist like an opening of the diary, if we accept the inverted commas, of the”imaginary journey”, the registering of the the journey being a fabulous one. It allows us to leave everyday life as well as these conditionings that can sometimes falsify our existence.
Calinescu said once that anyone should be free a month in a year, a week in a month, a day in a week, an hour in a day, free and untimely. This state of freedom and obsolescence Fortu gets, is, I believe, the condition of art itself. To evade, to be into reality, to be present in all determinations and at the same time, to get out of this reality to be able to contemplate from a certain metaphysical distance the world.
Fortu sets a sum of representations belonging to a vast, symbolic and decorative repertoire, based on the world’s mythology, on a personal system of values and representations. I think that operating with such things and values is a chance.
Fortu’s approach seems to be preciseworthy if I consider that in the concessions of image in the XX-th century, which triggered these distructions, these figurative decompositions bring about a recall of the lasting values, of those values we can control with our system of knowledge.Of course, we don’t have to see in these imagistic explosion the description of a mythological system as they communicate with the mythological system at random. The mythological systems are visual systems as beyond all these and more important than all these is what the artist thinks. For me, this is an extremely interesting phenomenon . In the sadness, loneliness, happiness, isolation, exaltation, enthusiasm and desperation in Barlad or Vaslui an artist like Fortu succeeds in building and mastering such an image. I have known about his evolution and I have been curious to follow them. I have the feeling that I have been attending the acknowledgement of an artist who is really significant for the evolution of the image and the visual language in Moldavia as well as for the evolution of the visual language in Romania.
I am glad that I can be present here, today, and I endowment and fabulative gifts.
I think that we can applaud in Nastasa Fortu the materialization of the late requital the Moldavian painting brings onto the national artistic stage.
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