Prezentare Demers Artistic
Mi-a fost student. Am cunoscut un tânăr discret, însă activ, tenace şi stenic. Pictor, el avu o frenezie expo, abandonată, cu burse şi postuniversitare; a adoptat o liniştită navigare, cu suprafeţe pictate Marius Frăţilă, solidare sau nu tablourilor, solidare sau nu simezelor. Pictura se dedică suprafeţelor, induc ideea (lucru plastic) că un corp arogă, la prezenţă, aceste picturi. Corpul expoziţional, corpul tabloului, corpul pictorului. Conture, umbre, orizonturi & aure, obiecte drept profiluri dau senzaţia de corp în serviciu plastic, la expuse suprafeţele pictate. Până la a imagina (lucru plastic) expoziţii în care pictorul expune un grup de „critici de artă”. Propun un re-enacting habeas corpus: nicio expo pictură, fără trupul pictorului.
Pictura lui Marius Frăţilă poate fi produsă, cu revelarea picturii europene, 1900, ce nu abandona figurativul, în exerciţiul abstractizării, a etalării de sine, a picturii („ca pictură”) şi a investirii abstractismului în noul figuratism, platonic. Să expui, pe pânze yachting, pe zmee, écrans, pe scuturi; expune, direct, pe paletă.
Menţionez apariţia, la editura Vinea, 2011, o „carte desenată [ilustrată, cu reproduceri] de Marius Frăţilă”.
Evidenţiez participarea Marius Frăţilă, expo pictură, „Lectură & Colocviu Iova, cu Răzvan Ţupa, la «Tramvaiul 26», 9.02.2013: Asistaţi, de pictura lui Marius Frăţilă”.
Marius Frăţilă propune viitor. Eu accept propunerea lui.
Gheorghe IOVA

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.
Gheorghe IOVA