Prezentare Demers Artistic
‘bodily sketched and highly dramatic in mood…’
After having experienced performative reality and having worked at the formation of the National University of Arts in Bucharest, Nadia Ioan returns to painting. Nadia Ioan stops at the feminine nude. The nude transforms itself from artistic cliché to pictorial strategy. In aesthetical terms, the visual impact oscillates between ‘all’antica’ and ‘maniera moderna‘. The narrative dimension uses the neoplatonic concept that was in fashion back then…love as a way of ascending that accepts diverse steps from sensuality to divine love. The topic remains in the ‘paragone‘ context, reporting to the interpretation and the reinvention regarding the superiority between painting and sculpture. With conscious elegance, interested by the effect of color, light, atmosphere, Bellini texture / Nadia Ioan relates especially to the ‘Woman with Mirror’ / Giorgione and Titian bring a new sensuality in art. Not at all narcissistic, her own image does not appear in the nude series. With images taken from her immediate surrounding / her mother, her grandmother, the interior of her house, the carnal mirrors in the hall-way, her own sofa, the pain, the confusion, the personal struggle, the heroic limit / painting is a sensitive sequel of her body. The tactile values have sculptural qualities. The bodily substance comes from the marble memories of a museum. Pure forms, careful at a certain modernism. The room where the nudes are is a sort of acceptance. The ambiguity of representation / there are the idealized nudes of a few real women and there are the images of a few ideal beauties / becomes a moral attitude. As time passes, youth and beauty become cold. Everything reduces to the transparency of the environment…as means to line out a sunset. We are talking about the process of staging. The image is conditioned by the carving. A technique that enhances intimacy. An abstract composition, simple, declarative is projecting the feminine anxiety. The primary reception of some personal assimilations induce an emotional actionism. And activates the repressive forces in the corporality of the artist. Nadia Ioan practices a sort of body-awareness-painting often quoted in connection to Merleau-Ponty’s texts. For Merleau-Ponty, the body is a strange object that uses both at home and in the world a general system of symbols. Merleau-Ponty’s, together with Lacan’s theories have been placed in the context of painting, in this segment of feminine identity, different from the analytical rigor of the feminist movement. The artist is preoccupied with sensations, emotions, functioning as a seismograph of everyday life. The world is reduced to its own body, to the empiric self. The gestures are rhetorical, intimately involved. Nadia Ioan creates intimacy through her tendency of working in series, while the important and controversial moments of the day establish the type of necessary relation between perception and emotion. Actually, each work has a fragment of body and a fragment of time that seem to function together.
Liviana Dan

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