'BUCLA' is a concept video that follows my thought process as an artist. It is composed of short fragments from different recordings and short animations about the lives of very small people living in an abstract world surrounded by strangely flying statuesque things. Most of these designs in the videos were once digital proposals I have failed with at competitions, exhibitions and public art submissions. After a while I realised how to rescue them. First I added little people to populate their worlds, second I made them move and third I added a short plot to spice up the narrative. Find a selection of these proposals in their initial state on my website on the galaxy page.
Because ‘life is like a tango’ to paraphrase Joey Badass who’s song I have used in this video, I am more than willing to explain my reasons for the accidents inside these worlds. I can’t express enough my sheer benevolence to understand some of the people in the world, but we really can’t escape the tragedy of this world. These people that create wars in reality I think are wrong. Ironically I think that my job as an artist is to counterbalance naivety and abolish the untruthful. I am more interested in creating designs and architecture or writing a good book and so hope that we can all enjoy the blessings of this world together, than destroy them by going against each other. If you understand what I mean, than maybe you can really see what I am making and what my work is about.
Before completing a BA and an MA degree in the UK I studied 3 years of architecture in Romania. I am interested in the works of Corbusier, Brancusi, Koons, Picasso and others. Currently my work draws on a carnivalesque native folklore mixed with Super Mario fantasyland. The work is interactive and plays with conventions and expectations of what art is, what art should be and how art is perceived. Dealing with painting, installation and sculpture my work can take any shape including landscape art and architecture, fashion and movies, music and poetry etc.
There is a great complexity in looking at such work. The vibrant colours draw the attention towards the shape. The shape is geometric, abstract or representational and interferes with the organic in nature, highlighting aspects of evolution. There is a lot of playfulness involved and the concept of the work very poetic. You get the sense of a riotous mind working to configure the world scientifically. The airy and spacious way of presentation allows interaction with an audience - teleporting the mind to a magical place - exploring universal identity and transformation.
The work displays a connection within civilizations and it shows aspects of continuity from prehistory to the Egyptians and Greeks, and landing in the contemporary world. It shows my perpetual delving into the unknown, progressing and developing new ways of defining society, popular culture and the future. I usually work with a range of materials and use flat surfaces combined with high key colours, creating a dialogue between the old and the new that connects memory with irreversibility.
The work is about the rawness of the material and pure form. It is a journey of discovery into the invisible side of the medium. My recent work has taken incredible shape. Working with materials such as clothing, fibreglass, paper, plaster, concrete, wood, inflatable and paint the materials are ever expansive. The logic behind it is quite savage and makes a dissonant effect conflating on a matter orientated aspect and a non-existing place - a virtual place that exists between a viewer and the artwork.
Like for example in one of my series of works ‘100 Dream Shapes’ I present pieces of three dimensional work made of scraps of wood. They developed like Matisse‘s cut-outs, unable to buy sophisticated materials I started to play with the materials I could find around me in 2013. Arranged like architectural maquettes or simulacras from Brancusi’s studio and individually titled (eg. Marge Simpson, Miley Cyrus and Frank Sinatra) they connect popular culture with high abstraction, and also take you on a wonderful trip around the world.
Considering the high craftsmanship of historical sculpture such as Michelangelo’s ‘David’, my work is emphasising on a future model. I feel that today‘s art is undergoing a dramatical practical change and my artistic pretence is to dismantle the process of invention working with it at the same time. A good example of a contemporary artist that shares my philosophy is Martin Creed. In one of his exhibitions ‘What’s the point of it?’ at the Hayward Gallery London in 2014. Creed’s evaluation of the world resumes in simple creative moments. Like Creed, my body of work proliferates a sculptural chronotope exploring time and space, history and the future. I am constantly on the search, shape shifting and dream catching my ideas. There is a sort of synaesthesia happening at some point and an unearthly desire becomes part of the work. As if my dreams and thoughts of the future were propelled into these beautiful shapes.
These are emerging forms that link the old with the new, the ephemeral with the infinite, the
shape with colour, the abstract with the recognisable. Digging deep, Hirst, Lucas, Ando, Yamamoto and the entire history of art, jumping into architecture and sound. Drawing endlessly on an animated state of excitement and satisfaction I was not gratified by my findings, I was bemused. These shapes started to appear as if in a dream. Creating these series of sculptures felt so fresh like I was engaged in a spiritual conversation with a deity, sensing everything that was around me, the smell of life and the possibilities, the connections that entice my brain. It’s like having the entire world in my head and creating infinity.
Rituallistically like a magician I make the material disappear applying colour to it. The material vanishes. It seizes to exist. It becomes invisible. Though I make it reappear again through colour, it challanges the formal historical provenance of the material - the work is already something else, it has been modified, mutated, metamorphosed and sufficiently simplified. Through simple shapes and artificial coulour the work looks superficial, banal, non-sensical and made to please, I know it sounds kinky but just go with it, it’s going to make you happy.
My very thought of art is flowing in the exotic rivers of colour. Always new and shiny, fun and happy. The forms are just parts of anatomy, parts of nature, flowers and fruits, buildings and shapes. Imagine this brand new landscape where everything is possible and conceptions can be changed into fantasies, and fantasies into reality - a city of the future like Corbusier’s imaginative ‘Radiant City’ but more radiant and more alive than ever. My web of works is a forest of ‘things’ that portray the relationship of man and the future – the conglomerated things, primitive and carnivalesque, riotous and floral. Daft Punk, Brancusi and Picasso mixed.
They say that (o bucla de timp) a time loop is a common theme in science fiction (especially in those universes where time travelling is a normal thing), where time flows normally for a determined frame (usually one day, or a few hours), then jumps backwards and forwards like a broken disc. When the time loop occurs everyone involved have their memory erased, they forget everything that has happened. Usually one or more people know keep the memory or are aware of the time loop through déjà vu. I am intrigued by the way our minds work and the way it fluctuates and the way ideas appear. Some of my favorite movies Back to the Future and Quantum Leap are all about it and also some of my works that describe this loop are COLUMN, shown at the begining of the video @ Bloomberg New Contemporaries 2015, and NEVER ENDING LINE, my vast and permanent public sculpture at Futura Park Ipswich, built in 2013, TARANTULA or MENAGE A TROIS the new work I made for Alive in the Universe at Venice Biennale 2019. See the works on this website and if you want to learn more about my past work go to my blog here futureofarts.blogspot.com
For this video I have used some of the music that I listen to and I really appreciate what the singers are doing and saying through these songs as it is in a way very powerful. As them I like language and dialects a lot which offer such an incredible range of understanding of the world. I am thankful to the lyrics and songs I have used from Mac DeMarco, Grimes, De La Soul, The Juan Maclean Project, Ariel Pink, Beirut, Girls Names, Gipsy Kings and Joey Badass. I am enjoying this medium of expression at a time of an overflow of information on the internet. I have made my sculptures adaptable, shaping them into a pleasant design. I am sad to hear they can’t see the light of the day sometimes, but I know that challenges come within any field of advancement. In art I am sensing a subliminal destruction of form at the moment that is supportive of history through technological development, Frank Gehry and Anish Kapoor are some of the people I look up to. Thinking of architects and musicians, writers and movies, comedians and athletes, it's something to take a break for, give yourself five minutes and look underneath these pages. I need to go to a pizza place with my virtual girlfriend. I'll make a longer movie one day. For now, enjoy the loop!
Bucla (Ro) = Loop (En)
1. a shape produced by a curve that bends round and crosses itself.
"make a loop in the twine"
Synonyms: bend, curve, kink, arc
‘the flex has a loop in it’
2. a structure, series, or process, the end of which is connected to the beginning.
"a feedback loop"
an endless strip of tape or film allowing continuous repetition
a complete circuit for an electric current.
Computing - a programmed sequence of instructions that is repeated until or while a particular condition is satisfied.
1. form (something) into a loop or loops; encircle.
"she looped her arms around his neck"
coil, wind, twist, snake, wreathe, spiral, form a hoop with, form hoops with, make a circle with, make circles with, bend into spirals/wholesome