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MIHAI CHIUARU ARTWORK SERIES
The same traditional, unorthodox calling related to the ancient meaning of the Byzantine universal aspects is represented by Mihai Chiuaru, known from the end of the 80’s. His monumental art displays the use of elements from the traditional religious painting schools, well represented in the area, yet with an expressionist inclination, already seen as a constant presence in the painting of this particular cultural area. The religious experience guided by fixed repertoires of the iconography discourse and the rigors of the abstract Byzantine space, is filled up with the intensity of presence and with a certain dramatic sensuality which renders a personal character, an actual commitment.
GROTESCA
We find here (after the artist bound us to reverence) the fragments of which can and nuance the whole. Even if some works are entitled “Whims / Capriciu” the artist does not purposely dispute the inner tension of the barely suggested shapes. His purpose is about inducing the idea that the Chaos-Cosmos antimony in the case of artistic image must be conducted towards relativity.
CAPRICIU
The sacred elements in the visual discourse of Mihai Chiuaru have evolved, gradually, from the former representations of the soul towards the Christian imagery. The anthropological references recall the Byzantine iconography, as he places the figures in the center of the image, and all further work is structured around this core.
FLAG
Mihai Chiuaru merges in his paintings, with a significant ambiguity, mythological references with echoes of the directly experienced reality. Motifs recalled from a cultural memory (in an earlier period he chose the mummy shape as a representation of the soul) meet with unexpected images from the everyday life in a permanently joyous exuberance. These figurations, regardless of their origin (mythological or day-to-day) enjoy their own, personal visual identity, and evolve only according to the current predisposition of the artist.
AGAPA
His works are proof of this, starting with his early series of Grotesque, Capriciu, - with real shapes decomposed in fragments with symbolic value, the painting subject living through exulting and gesture and the color marking the artist’s vehement attitude through his almost too bright tones, and finishing with his relatively recent “Flags”, “Dvere” (religious embroidery) and “Rituals”, which temper the optical tension, creating a relaxed communication through a chromatic edifice impressively orchestrated in a refined synthesis symbolic subjects
POLYPTIC
In Mihai Chiuaru’s option for “la nature repose”, or “silent lives” we find a fertile zone of in determination, an area to fill up with imaginative activity of the receiving conscience carefully “hinted” by the author for it works only with chosen objects which are intrinsically implied (surely the artistic culture, part of the entire history of the genre, intervenes with those “rustic tables”, “served meals”, but also “moralities” and “vanities” with symbolic objects with a rich allegoric tradition).
TABLE
DVERA
In Mihai Chiuaru’s option for “la nature repose”, or “silent lives” we find a fertile zone of in determination, an area to fill up with imaginative activity of the receiving conscience carefully “hinted” by the author for it works only with chosen objects which are intrinsically implied (surely the artistic culture, part of the entire history of the genre, intervenes with those “rustic tables”, “served meals”, but also “moralities” and “vanities” with symbolic objects with a rich allegoric tradition).
ARHETIP
We find here (after the artist bound us to reverence) the fragments of which can announce the whole. Even if some works are entitled “Whims / Capricii” the artist does not purposely dispute the inner tension of the barely suggested shapes. His purpose is about inducing the idea that the Chaos-Cosmos antinomy in the case of artistic image must be conducted towards relativity.
WINDOW
INSTALLATION & OBJECT
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