Prezentare Demers Artistic

“Proba esentiala de inteligenta pe care o face artistul in acest moment, in momentul sculpturii in sticla, sta in fuga lui de exterioritate si de determinarea materialului insusi de a se manifesta multidimensional. Brancusiana in esenta, adica nondiscursiva, nongravitationala si transparenta dincolo de transluciditatea sticlei – si aici ar mai fi inca foarte multe de spus – sculptura lui Alexandru Ghildus este una complet atipica. In mod cert sculptura, nu atat pentru ca lucrarile sunt produse de catre autorul insusi ca atare, ci pentru ca, spre deosebire de obiectul decorativ, fie el si de mari dimensiuni, care atrage priivirea spre sine insusi, obiectul lui Ghildus pune spatiul in rezonanta si il modeleaza intr-o forma specifica. Insa aceasta structura tridimensionala se comporta imprevizibil si populeaza spatiul, asa cum face un obiect clasic de sculptura, dar nu reflecta lumina spre exterior, asa cum o fac volumele polisate si nici n-o oboseste asa cum o absoarbe, o interiorizeaza si, mai apoi, o retransmite du pa ce ea a suferit un anumit proces de prelucrare. In al doilea rand, si acest lucru este cel mai important, sculptura lui Ghildus sfideaza legile fizicii insesi, asa cum sculptura clasica le-a acreditat in mii de ani, si in afara celor trei dimensiuni cunoscute – inaltimea, lugimea si adancimea – ea mai experimenteaza inca una, si anume profunzimea, care nu este o coordonata a spatiului exterior, ci una a interioritatii substantei. Artistul isi cunoaste perfect materialul, ii stie spiritul si comportamentul, iar accentual pus pe dimensiunea launtrica a formelor, pe o anume dimensiune mistica a acestora, nu este o intamplare sau un simplu citat al naturii substantei, ci o componenta voluntara a creatiei, asumata pe deplin si pregatita indelung”.

Pavel Susara, critic si istoric de arta.
“Dictionar plastic-Maretia artelor decorative”, Romania Literara,nr. 15/2003, pag.25.

Prezentare Demers Artistic

”The essential proof of intelligence made by the artist at the moment, at the time of the glass sculpture is to avoid the exteriority and to handle the material in such a way to make discover its multidimensional forms.

The sculpture of Alexandru Ghildus is similar to the sculpture of Brancusi, non-discursive and non-gravitational. His sculpture is completely atypical.

It is the sculpture, not only because the works are created by the artist himself, but also because, by report to the decorative object, be it small or large dimensions, which attract the attention by itself, the object of Ghildus puts the space into resonance by giving it a specific form.

This three-dimensional structure acts in a unpredictable way and fills the space, but compared with the classic sculpture, do not reflect the light towards the outside, it absorbs and transforms the light.

During centuries, the classic sculpture accredited three dimensions: the height, the length and the width. The sculpture of Ghildus challenge the laws of physics, by adding a new dimension: the depth, a depth which has nothing to do with the outside. It is a dimension from the inside of the substance. The artist knows perfectly the material, its behavior and spirit and the accent put on this mystic dimension of the forms represents a voluntary act, completely and deeply assumed.”

Pavel Susara, critic and art historian

Dictionary of visual art – The Greatness of the decorative arts