catalog CNCR

Descrierea CIP a Bibliotecii Naionale a Romniei

Artiti romi n arta contemporan / pref.: Mihai Neacu, Delia Grigore; critica: Diana Savu; trad.: Diana Savu, Gabriela MurgescuEditura Centrului Naional de Cultur a Romilor, 2015

ISBN 978-606-93895-1-5

I. Centrul Naional de Cultur a Romilor (Bucureti)II. Neacu, Mihai (pref.)III. Grigore, Delia (pref.)IV. Savu, Diana (trad.)7(=214.58)(084)

Editura Centrului Naional de Cultur a Romilor, 2015

Descrierea CIP a Bibliotecii Naionale a RomnieiArtiti romi n arta contemporan152 p.;

Coordonator: Alina EneFotografii: OnX Media, Marian Petre, Eugen RaportoruLayout : Andrei TudoranCopert: Conexiune - Marian Petre; layout: Andrei TudoranTipografia: Compania Naional a Imprimeriilor Coresi S.A. Piaa Presei Libere nr.1, Bucureti

roma

artistsincontem

porary art

artistirom

iinarta contem

porana

,

-CENTRuL NAIONAL DE CuLTuR A ROMILOR

GuVERNuL ROMNIEI

romaartists

in

contemporary art

artistiromii n

arta contemporana

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-

roma

artistsincontem

porary art

artistirom

iinarta contem

porana

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,

-eugen raportoru / pictura

painting

marIaN petre / sculpturasculpture

-

-

Albumul de art plastic al artitilor romi, pictorul Eugen Raportoru i sculptorul

Marian Petre, este primul de acest fel care apare n Romnia.

Publicarea acestui album de art rspunde unui deziderat exprimat n cadrul planu-

lui de management al Centrului Naional de Cultur a Romilor. Din pcate, cultura

rom este reprezentat, n spaiul public, prin elementele ei tradiionale, aadar

suntem vizualizai, aproape mereu, ca fiind reprezentani ai unei culturi exclusiv

tradiionale. Suntem, ca toate celelalte culturi ale omenirii, o cultur format din

partea tradiional i partea modern, cantonai fiind, de ctre ceilali, mai ales n

partea tradiional, privii ca mari muzicani, fr a se lua n considerare componenta

modern, cu scriitori, pictori, sociologi, doctori, elita intelectual rom. nc avem

imaginea unei culturi tradiionale, din cauza faptului c noi, ca instituii guverna-

mentale sau neguvernamentale, nu am gsit canalul de comunicare prin care s

promovm elementele culturii rome moderne. De aceea, n planul de management

al Centrului Naional de Cultur a Romilor, am inclus producia cultural modern,

care s vorbeasc despre cultura rom utiliznd instrumente moderne de promo-

vare a acesteia.1 Este responsabilitatea noastr instituional s promovm artitii

romi n aa msur nct s fie cunoscui att de ctre noi, romii, ct i de ctre

publicul larg n general. Avem datoria, din punct de vedere instituional, s facem

o producie cultural rom ai crei autori s fie mai ales artiti romi, actori, pictori,

sculptori, muzicieni, iar artitii romi s depseasc graniele instituiilor pentru romi.

S facem, de exemplu, un plan de diseminare n toat ara, a produciei culturale

rome cum ar fi: colindele n limba romani, creaiile pictorului Eugen Raportoru,

ale sculptorului Marian Petre, ale scriitorilor i actorilor romi. Trebuie s depim

registrul n care tim noi despre noi i s realizm canale de comunicare pentru

publicul larg. 2

Albumul de art plastic al artitilor romi, pictorul Eugen Raportoru i sculptorul

Marian Petre, care va fi lansat cu ocazia celebrrii Zilei Internaionale a Romilor,

8 Aprilie 2015, continu i dezvolt aceast viziune de promovare a elitelor

contemporane rome.

,d e l i a g r i g o r e / m i h a i N e a c s u

NTRE REFLECIE I EMOIE

----------------------------

1 Centrul Naional de Cultur a Romilor, Buletin Informativ, ediie bilingv romn/romani,

Nr. 1 / februarie 2015, Perioada: noiembrie-decembrie 2014, pag. 5.

2 Idem, pag. 6-7.

----------------------------

1 National Centre of Roma culture, Newsletter, bilingual edition Romanian/Romani, No.1 / February

2015. Period: November-December 2014, page 5

2 Idem, page 6-7ar

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The Art album of Roma fine artists, the painter Eugen Raportoru and the sculp-

tor Marian Petre, is the first of its kind to appear in Romania.

The publication of this art album responds to an eagerness expressed in the

management plan of the National Centre of Roma Culture. unfortunately, Roma

culture is publicly represented through its traditional elements, thus we are

seen, almost always, as representatives of an exclusively traditional culture.

Like all other cultures of humanity, we have a culture made of the traditional and

modern elements, still being quartered by others especially in the traditionality,

being seen as great musicians but without taking into account the modern com-

ponent given by writers, painters, sociologists, doctors, Roma intellectual elite.

We still have the image of a traditional culture, because as governmental or

nongovernmental institutions, we have no communication channel to promote

Roma culture modern elements.

Therefore, in the management plan of the National Centre of Roma Culture,

we have included modern cultural production, to talk about Roma culture us-

ing modern tools to promote it.1 It is our institutional responsibility to promote

Roma artists so that to be known by both Roma and the wide public. We have

an institutional duty to make a Roma cultural production whose authors are

especially Roma artists, actors, painters, sculptors, musicians, and artists to

move beyond Roma institutions. For example, let us conceive a plan for dis-

semination of Roma cultural production across the country including carols in

Romani, creations of the painter Eugen Raportoru and of the sculptor Marian

Petre, of other Roma writers and actors. We must overcome the register

where we know about us and we have to broaden the communication chan-

nels to the wide public. 2

The fine Art album of Roma artists, the painter Eugene Raportoru and the sculp-

tor Marian Petre, which will be launched on the occasion of International Roma

Day, April 8, 2015, continues and develops the vision of promoting contempo-

rary Roma elite.

BETWEEN REFLECTION AND EMOTION

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Cei doi artiti, ambii membri ai uniunii Artitilor Plastici din Romnia, s-au remar-

cat nu numai prin valoarea compoziional a creaiilor lor, dar i prin tematica

abordat, care a inclus semnificative i subtile referiri la cultura i istoria romilor,

conferind, astfel, apartenenei lor etnice, nsemntate de coloan vertebral a

constituiei interioare a fiecruia dintre ei.

Pictorul Eugen Raportoru abordeaz att peisagistica, n special cea urban,

ct i natura moart i portretistica, n cadrul acesteia din urm chipurile de romi,

femei i brbai, copii i btrni, ocupnd un loc aparte. Peisagistica urban este

compus pregnant n alb i negru, cu subtile tue de culoare realizate dominant n

albastru-bleumarin sau vineiu, rou-sngeriu i diferite nuane de maro i galben

nchis, invitate parc s ia parte la o construcie care le este, aparent, strin. Pei-

sajul se nghesuie n tiparele impuse de sensibilitatea enorm a artistului, ca ntr-o

capcan n care sufletul se prbuete ca dup un cataclism, ca ntr-o groap cu

lei printre gratiile creia vedem, fr s putem atinge sau nltura, graniele ce ne

limiteaz perspectiva.

De cele mai multe ori, figura uman lipsete din peisaj, iar atunci cnd exist,

este dificil de identificat, fiind mai mult un pretext imagistic ncadrat att de bine n

compoziia non-uman a zidurilor, nct ajunge s se confunde cu acestea, ceea

ce rezult fiind un spaiu straniu, rece, aproape nfricotor, cu cldiri vechi, care

dau impresia de ruin i uneori par prsite, cu ferestre nguste i lungi, cu ochiuri

de geam la mansarde, cu strzi strmte, ganguri, pori uriae ctre posibile curi

interioare dominate de necunoscut i mai ales cu pori ncuiate cu sugerate

lacte, ziduri privite pe furi din spatele cldirii i numeroase gratii la ferestre, gar-

duri tip gratii, balcoane cu gratii. De nicieri nu apare nici o raz de soare i este

mai ntotdeauna iarn n lumea picturilor lui Raportoru. Negrul absoarbe lumina.

Nu exist nici cer, nici pmnt, numai perei de care ni se lovete privirea ca s

se izbeasc apoi, ntr-un venic recul, de orbitele noastre golite de iris. Atmosfera

este apstoare i se accentueaz sentimentul ncarcerrii individului ntre zidurile

societii privite ca nchisoare a spiritului. Predomin disperarea de sorginte

expresionist i pare c nimic nu ne mai poate salva de alienare. Ne sufocm

ntre gratii i ziduri.

Natura moart cu vaze de flori rspunde orizontului de ateptare al nume-

lui care trimite la nefiin depind clasica denominaie a unor astfel de

picturi. Florile par rupte, strivite, smulse, ucise, deseori nsngerate, trezesc

nelinite, chiar team, iar privitorul se scufund n aceeai ap tulbure a

expresionismului.ar

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The two artists, both members of the Romanian Artists union, stood out not

only by the compositional value of their creations, but also by the theme they

have tapped, which included significant and subtle references to the Roma

culture and history, thus giving to their ethnic affiliation the meaning of a back-

bone within the inner body.

The painter Eugen Raportoru addresses landscape, especially urban,

stil l l ife and portraiture, where images of Roma women and men, young

and old occupy a special place. urban landscaping is significantly made

of black and white, with subtle touches of blue or purple blue, blood

red and various shades of brown and dark yellow invited to attend a

construction apparently strange to them. The landscape flocks to pat-

terns imposed by the artists enormous sensitivity, as a trap where the

soul collapses as after a disaster, like a den of lions where we can see

through the bars, but we cannot touch or remove the margins that limit

our perspective.

Most often, the human image is missing from the landscape, and where

it appears it is difficult to identify it, being more like an imagistic pretext

framed so well in the non-human composition of walls that comes to be

confused with them. The result is a strange space, cold, almost frighten-

ing, with old buildings that give the impression of ruin and sometimes

seem deserted, with long narrow windows with panes in attics, with narrow

streets, passages, huge doors to possible patios dominated by unknown

and mostly having gates locked with suggested padlocks, walls sneak

peeked behind the building and numerous bars on windows, fences type

bars, balconies with bars.

There is no sunshine anywhere and it is almost always winter in Raportorus

paintings. Black absorbs light. There is no sky or earth, only walls that our

sight clashes at in order to smash back with our eyeholes voided by iris like

an eternal back stroke. The atmosphere is oppressive and emphasizes the

individuals sense of incarceration within the walls of society seen as the spirit

prison. Expressionist-inspired despair prevails and it seems that nothing can

save us from alienation. We suffocate between bars and walls.

Still life with vases responds to the expectations of the name referring to nothing-

ness beyond classical denomination of such paintings. The flowers appear bro-

ken, crushed, killed, often bloody, waking up anxiety, even fear, and the spectator

is immersed in the same muddy water of expressionism.

8Portretele continu acelai discurs al fricii stpnite: oamenii lui Raportoru

privesc n gol, in ochii ntredeschii sau nchii, de parc ar refuza lumea din

jurul lor, nu ne privesc aproape niciodat, uneori par chiar orbi. Romii lui Rapor-

toru sunt triti, par a strnge din dini, copiilor le tremur barba a plns, btrnii

i ateapt moartea sau mai bine spus uciderea, cu minile mpreunate, privind

numai n interior, dinspre un trecut care i zdrobete ctre un viitor care va

repeta trecutul. Departe de a fi un element decorativ, dar evident un element de

identificare etnic, portul tradiional rom pare mai degrab o cma a morii n

care individul i ateapt execuia.

Fr ostentaie, fr exces de mijloace artistice, evitnd, cu orice chip, tentaia de

a epata prin tematica abordat sau prin soluiile compoziionale utilizate, metafora

plastic a pictorului Raportoru evoc destinul tragic al unui popor zdrobit de istorie.

Imaginile se remarc prin tua cnd ngndurat, cnd nervoas i desenul

ascuit, prin simul regiei compoziionale i prin autenticul unei lumi cu gust

amar, triste, impregnate de tcerea fr rspunsuri.

Sculptorul Marian Petre abordeaz naterea i moartea, femininul i masculi-

nul, zborul i prbuirea, fiecare dintre acestea fiind emergent din opusul su

i coninnd germenii opusului su. Femininul conine masculinul, masculinul

este germenele femininului. Naterea genereaz moarte, moartea se cldete

pe via i germineaz ntr-o nou natere. Zborul conduce la prbuire, dar

prbuitul ridic privirea spre zbor.

Precum regele care cu un ochi plnge i cu cellalt rde, sculptorul cu o

mn ndoaie, rsucete, rupe metalul, iar cu cealalt mngie, cioplete,

mbrieaz lemnul. Gratiile de metal ncarcereaz inima lemnului, dar i

trunchiul de lemn nchide, n miezul lui, smna metalului care-i ateapt focul.

Metalul lui Petre este ntortochiat, frnt, rostogolit, contorsionat de un chin in-

exprimabil. Chipurile umane sugereaz cel puin dou identiti fie suprapuse, fie

opuse, fie ascunse una de cealalt, fie protejate una de cealalt, fie prevalente

una prin cealalt, fie dominndu-se una pe cealalt.

una dintre temele predilecte ale sculpturii lui Marian Petre este crucificarea:

vedem deseori umbra scheletic a unei mini n care se afl btut un cui i

nu tim dac cel crucificat este Isus sau un alt Mesia ateptat de un alt popor

care-i caut identitatea cu inima smuls, dar care bate nc, aruncat pe ci-

ment, ntr-un beci umed i rece. Cu ochii minii rsucii nuntru vedem cum, de

dra de snge lsat de arterele inimii smulse, se apropie pe furi obolanii, iar

ochii lor hulpavi strlucesc n ntuneric.ar

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Portraits continue the same speech of self-controlled fear: Raportorus people

stare, have half-closed or closed eyes, as if they refuse the world around them,

they do not look at us almost never, sometimes they even seem blind. Roma

are sad in Raportorus paintings, they seem to grind their teeth, children cry chin

trembling, and elderly are waiting for their death, or rather to be murdered, with

hands entwined, watching only inside from a past that crushes them to a future

that will repeat the past. Far from being a decorative element, but obviously an

ethnic identifying element, the Roma traditional vestment seems more like a

shirt of death which covers the individual waiting his executions.

Painter Raportorus plastic metaphor evokes the tragic destiny of a people

crushed by history without ostentation, without excess of artistic means,

avoiding anyhow the temptation to show off through the approached theme or

through the compositional solutions he used.

Images are distinguished by the touch at times thoughtful at times angry and

by the sharp drawing, by compositional sense and by the authenticity of a bitter

world, impregnated of sad silence without answers.

The Sculptor Marian Petre approaches birth and death, male and female, flight

and fall, each of which is emerging from its opposite germs and containing its

opposite. Feminine contains masculine, feminine is the germ of masculine. Birth

generates death; death is built on life and germinates in rebirth. Flight lead to

collapse, but the crash looked up to the flight.

As a king who cries with one eye and with the other laughs, the sculptor bends,

twists, breaks the metal with a hand and with the other comforts, hews, and

embraces the wood. Metal bars incarcerate the heart of wood and wooden

trunk closes inside it the metal seed expecting its fire.

Petres metal is tortuous, broken, rolled, and twisted by inexpressible anguish.

Human faces suggests at least two identities are stacked, or opposed, or hid-

den from each other, or protected from each other, or prevalent to one another,

or dominating one each other.

One of the favourite themes of Marian Petres sculpture is crucifixion: we often

see a shadow of a skeletal hand having a nail hammered in it, and we do not

know if the crucified one is Jesus or another Messiah expected by other people

who seek identity with heart torn away but still beating and thrown on cement in

a clammy cellar. With the minds eyes twisted inside we can see rats stealthily

moving towards the trail of blood left by the arteries of the torn heart, and their

greedy eyes glow in the dark.

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O alt tem predilect a sculpturii lui Marian Petre este nlnuirea: sugestii de

lanuri, sugestii de gratii, sugestii de lacte, sugestii de chei rsucite n pori,

sugestii de pori fr clane. Toate simbolizeaz ncarcerarea, supunerea,

nchiderea, lipsa de perspectiv, individul ngenunchiat de societate.

Petre reunete, de multe ori, dou teme fundamentale ale sculpturii sale:

ruga i zborul. Siluetele umane cu braele ntinse spre cer sau ntinse pe cer

sugereaz nu credina, ci mai degrab nevoia de credin, nu visul, ci mai

degrab nevoia de vis.

Compoziiile se remarc prin aparenta dizarmonie a formelor care

ntruchipeaz o profund armonie a coninutului, a mesajului propus de artist.

Acesta din urm se subsumeaz nevoii de a nelege destinul unui neam n

special i destinul omenirii n general.

Marian Petre re-evalueaz expresivitatea abstractului n simbolistica metalului

contorsionat, realitatea istoriei tragice a romilor fiind esenializat n chipuri,

mini i lanuri care trec dincolo de graniele denotativului artistic ntr-o lume

de simboluri ale cutrii identitii.

Ambii artiti demonstreaz o sensibilitate artistic rar ntlnit, slujit cu te-

meinicie de performana meteugului ndelung i adnc studiat.

Ambii artiti exerseaz metaforele unei ntristate monumentaliti i au retina

romului care, strivit de o societate care nc i pune la ndoial umanitatea, se

refugiaz fie n demnitatea tuelor de gri i i sobrietatea tuelor de negru, fie

n expresia rece a metalului care caut cldura venic promis i niciodat

atins a lemnului.

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Another favourite theme of the sculpture Marian Petre is chaining: sugges-

tions of chains, suggestions bars, suggestions of locks, suggestions of keys

rotated in the keyholes of gates, suggestions of doors without handles. All

symbolizes imprisonment, obedience, incarceration, lack of perspective the

individual knelt by the society.

Petre brings together many times, two fundamental themes of his sculpture:

the prayer and the flight. Human silhouettes with the arms extended towards

the sky suggesting not faith, but rather the need for faith, not the dream, but

rather the need to dream.

The compositions are characterized by apparent disharmony of forms that

embody a profound harmony of the content, of the message proposed by the

artist. The latter subsumes to the need to understand the destiny of a nation

in particular and the destiny of mankind in general.

Marian Petre re-evaluate the expressiveness of abstract in symbolism of twisted

metal, the tragic reality of Roma history being asserted in faces, hands and

chains that go beyond artistic ordinary in a world of symbols of identity search.

Both artists demonstrate a rare artistic sensibility, served with meticulous

craftsmanship performance long and deeply studied.

Both artists practice sad monumental metaphors and have the retina of the

Roma who, crushed by a society that still question his humanity, find a refuge

either in the dignity of touches of grey and in the sobriety of black or in the

cold expression of the metal seeking the heat of the wood eternally promised

and never touched.

eugen raportoru

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Nscut: 8 decembrie 1961, Bucureti

StuDII

Masterat -universitatea Naional de Arte, Bucureti, secia Pictur (2009-2011)

Liceniat al universitii Naionale de Arte, Bucureti, secia Pictur,

promoia 2009

Din 2010 - Membru al uniunii Artitilor Plastici din Romnia

ExPozIII PERSoNAlE

1975 - Cinematograful Grivia

1978 - BibliotecaCezar Petrescu, Bucureti

1979/1980 - Casa de Cultur nfrirea ntre popoare, Bucureti

1984 - Teatrul de Comedie, Bucureti

1990 - Teatrul Foarte Mic, Bucureti

1992 - Teatrul Nottara, Bucureti

2000- Galeriile de Art ale Municipiului Bucureti

2001 - Muzeul Municipiului Bucureti


2004 - u.N.E.S.C.O. Romnia


2005 - Teatrul Naional Bucureti

2005 - Ambasada Romniei din Stockholm

2005 - Festivalul Internaional de Teatru Radu Stanca, Sibiu

2006 - Teatrul Naional Bucureti

2008/2010 - Muzeul Municipiului Bucureti, ncadrul Zilelor Bucuretilor

2009 - Sinaia

2013 - Galeria Frezia, Dej

2014 - Galeria Simeza, Bucureti

2014 - Casino Sinaia

2015 - Tomis Mall, Constana

C U r r I C U L U M V I T a E

Born: 8th of December 1961, Bucharest

EDuCAtIoN

Master Degree in Paintings - The National university of Arts Bucharest (2009-2011)

Graduate of the National university of Arts Bucharest, Paintings Department,

2009 class

Since 2010 - Member of the united Artists union, Bucharest

PERSoNAlE ExhIBItIoNS

1975 Grivia Cinema (the first exhibition at the age of 14)

1978- Cezar Petrescu Library, Bucharest

1979/1980 - nfrirea ntre popoare Hall of Culture, Bucharest

1984 - The Comedy Theatre, Bucharest

1990 - The Very Small Theatre, Bucharest

1992 -Nottara Theatre, Bucharest

2000 - The Art Galleries of Bucharest Municipality

2001 - Bucharest Municipality Museum

2003 - Bucharest Municipality Museum

2004 - u.N.E.S.C.O. Romania

2005 -Bucharest Municipality Museum

2005 - The National Theatre, Bucharest

2005 - The Embassy of Romania in Stockholm

2005 - The International Theatre Festival Radu Stanca, Sibiu

2006 - The National Theatre, Bucharest

2008-2010 - Bucharest Days, The Museum of Bucharest Municipality

2009 Sinaia

2013 FreziaGallery, Dej

2014 Simeza Gallery, Bucharest

2014 - Casino Sinaia

2015 - Tomis Mall, Constana

13

ExPozIII DE gRuP

2014 - Arte n Bucureti, Centrul Artelor Vizuale, Bucureti.



2012 - Expoziia ,,unarte012, Muzeul de Art Cluj Napoca

2011- Arte n Bucureti, Centrul Artelor Vizuale, Bucureti.

2011 - unarte011, expoziie de grup, universitatea de Arte G. Enescu, Iai

2011 - Ap, foc, expoziia grupului ,,Ochi Compus, Centrul Artelor

Vizuale, Bucureti

2010 - Expoziie de grup unarte010, Galeria Facultii de Arte din Timioara

2009 - Cer i Pmnt - Expoziia grupului Ochi Compus, Centrul Artelor

Vizuale, Bucureti

2008 - Crize - Expoziia grupului Ochi Compus, Galeria Nou, Bucureti

2008 - CORP -n- CROP - Expoziia grupului Ochi Compus, Centrul Artelor

Vizuale, Bucureti

2004 - Expoziia de Art Plastic Romn Contemporan, Vatican

tABERE DE CREAIE

Andora, Media, Climneti, Rnov, Sozopol

PREMII I BuRSE

2011 - Premiul pentru Pictur din partea uniunii Artitilor Plastici - expoziia

Arte n Bucureti

2009 - 2011- Bursa unicredit iriac

gRouP ExhIBItIoNS

2014 - Arts in Bucharest, The Center for Visual Arts, Bucharest



2012 unarte012 Exhibition, Art Museum in Cluj-Napoca


2011 - unarte011, G. Enescu Art university of Iai

2011 - Water, Fire Ochi Compus Group exhibition, The Center for Visual

Arts, Bucharest

2010 - unarte010, the Gallery of the Faculty of Arts in Timioara

2009 - Heaven and Earth, Ochi Compus Group exhibition, The Center for

Visual Arts, Bucharest

2008 - Crisis, Ochi Compus Group exhibition, Nou Gallery, Bucharest

2008 - CORP-n-CROP, Ochi Compus Group exhibition, The Center for

Visual Arts, Bucharest

2004 - Contemporary Romanian Visual Arts Exhibition, Vatican (group)

ARt CREAtIvE CAMPS

Andora, Media, Climneti, Rnov, Sozopol

AwARDS AND SCholARShIPS

2011 - Romanian Artists union Award for Painting - Arts in Bucharest

exhibition

2009-2011 - unicredit iriac Scholarship

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pictura/

painting

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arta contemporana

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CONTEMPOrarYarT

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PEISAJ 1 / LANDSCAPE 1

tehnic mixt pe pnz / mixed media on canvas

100 x 120 cm

2014

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80 x 200 cm

2014

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100 x 120 cm

2013

23

n pnzele lui Eugen Raportoru, pictura are arom poetic, pentru

c aa cum, ntr-o poezie, transpare preioasa sensibilitate uman,

la fel i lucrrile sale eman expresia existenial pur a emoiilor

sale creatoare. Este poezia care se regsete n peisajele urbane,

n portretizarea florilor sau a persoanelor care au atins sufletul

lui Eugen Raportoru. n aceste picto-poezii se regsete ntreaga

dorin a sa de a-i mrturisi fascinaia fa de ungherele ascunse

ale oraului contemporan n a cror ilustrare menine predominant

figurativul n compoziii i naraiuni cu parfum de epoc.

Cromatica aleas de Eugen Raportoru este aplicat cu contiina

c acest limbaj a fost creat s ating corzile emoiilor. Asta

transmite pictura lui Eugen Raportoru, care, n figurarea realitii,

procedeaz la curirea total a subiectului de indicii ale actualitii

pentru a deschide calea spre noi forme de expresie apropiate de

natura sa profund romantic.

Oraul - care n epifaniile lui Raportoru are un parfum inegalabil -

este mai degrab locul nelocuit i, probabil, un pic nfricotor

n care apar neateptat protagonitii lumii pictorului, case vechi cu

arhitecturi mai mult sau mai puin pretenioase aparinnd mahala-

lelor srccioase sau centrului cu arome interbelice, o transpu-

nere n pictur, prin bogata gam a griurilor colorate, a peliculelor

cinematografice alb-negru din perioada neorealist.

D IaNa SaVU

In Eugen Raportorus canvases, the painting has a poetic flavour,

because the way in which in a poem transpires the precious hu-

man sensitivity, the same way his work exudes pure existential

expression of his creative emotions. It is poetry to be found in

urban landscapes, in the portrayal of flowers or people who have

touched the soul of Raportoru. These Picto - poems assert his

powerful desire to confess his fascination with the hidden corners

of the contemporary city, whose illustration maintain a prevalent

figurative style in compositions and narrations of vintage scent.

The chromatic chosen by Eugen Raportoru is applied with the

awareness that this language was created to touch the emotional

strings. This is what Eugen Raportorus paintings convey, who,

illustrating reality, proceeds to the total cleansing of the subject

of present indicators in order to open the way to new forms of

expression close to his deeply romantic nature.

The city - which has a peerless flavour in Raportorus epipha-

nies - is rather a deserted place and perhaps a little scary in

which suddenly appear the protagonists of the painters world:

old houses with more or less complicated architecture belonging

either to impoverished slums or to the historical center, being a

transposition in painting, through the rich range of grays, of the

black and white motion picture style of Neorealism.

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24Fa de anii anteriori, abordarea subiectului a evoluat, Eugen Rapor-

toru prsind realismul detaliat n favoarea unui plus de abstractiza-

re al parcursului pictural, fr a modifica, ns, tensiunea emotiv pe

care ne-o transmite. Dac la nceputul carierei sale artistice modul

de operare era predominant reflexiv, n prezent este unul instinc-

tiv, este expresia direct a gestului i tuei nervoase de nestvilit,

izvorte din subcontientul cel mai profund.

Gestul, de cele mai multe ori sigur i hotrt, se muleaz perfect pe

subiect ca i cum pictorul, dup ce a ales, iubit, preuit i construit

creatura sa, a dorit s-i ofere i suflul vital. Picturile lui Eugen

Raportoru evoc peisaje urbane, dar pot fi foarte bine catalogate

ca arhitecturi informale prin imediateea gestului i lipsa unui studiu

apriori. Sunt peisaje pe care s le priveti cu ochii sufletului pentru

c simpla privire nu este suficient. Tot ceea ce se desfoar n

faa ochilor privitorului sunt evocrile unor orizonturi, a unei naturi

nuntrul crora Raportoru i imprim fora sa creatoare. Dac

anterior peisajele sale urbane erau ancorate n cotidianul periferiilor

ilustrate prin griuri melancolice, n prezent se poate observa trans-

ferul ctre fora gestului cu care se apleac asupra formei, expresia

tuei devenind actorul principal.

Admirnd picturile sale privitorul este, parc, invitat s se bucure de

aceste poezii, fie ele peisaje sau flori, s se bucure chiar de dra-

maticul ce exalt din aceste opere, pentru c viaa are i aspectele

sale tragice care hrnesc i dau for sufletului.

Eugen Raportoru observ i triete aceste imagini reale, le

elaboreaz i le filtreaz prin prisma sufletului su minunat i resti-

tuie peisaje interioare ale experienei sale de via, care au o lejer

trimitere la datele realului i care doar prin miestria, sensibilitatea

i ndrzneala autorului ne determin s le citim ca pur emoie i

bucurie vizual.

Compared to previous years, approaching the subject has evolved,

Eugen Raportoru leaving the detailed realism in favor of a plus of ab-

straction within the pictorial journey, without changing, however, the

emotional tension that he transmits. If at the beginning of his artistic

career the modus operandi was predominantly reflective, now it is

instinctive, it is the direct expression of the nervous unstoppable ges-

ture and brush-stroke, arising from the deepest subconscious. The

gesture, most often sure and decided, fits perfectly on the subject as

if the painter, after having chosen, loved, valued and built his crea-

ture, wanted to offer it his vital breath.

Eugen Raportorus paintings evoke urban landscapes, but they may

very well be classified as informal architectures through the im-

mediacy of gestures and the lack of any a priori study. There are

landscapes to look with the eyes of the soul, because the simple

look is not enough. Everything that takes place before the eyes of the

beholder are evocations of horizons, of a nature within which Rapor-

toru settles his creative force.

If a few years ago his urban landscapes were anchored in the quo-

tidian suburbs illustrated by gray melancholy, now we can see the

transfer towards the force of the gesture that leans on the form, the

expression of the stroke becoming the main actor.

Admiring his paintings the viewer is invited to enjoy these poems,

whether they landscapes or flowers, even to enjoy the drama that

exalts itself in these works, because life has its tragic aspects that

nourish the soul and give it strength.

Eugen Raportoru observe and lives these real images, he develops

and filters them through his wonderful soul and returns to us inner

landscapes of his life experience, which have a slight reference to

reality, but only by the skill, sensitivity and boldness of the author they

lead us to read them as pure excitement and visual joy.art

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25Pictura lui Eugen Raportoru rmne memorabil prin simplitatea

mijloacelor sale, prin viziunea uscat i reinut a ambientelor

naturale i urbane nvestite cu transformri tcute i continue,

care tulbur, topesc i recompun contururile, nviorndu-le le prin

reverberaia unei lumini interioare i secrete. n aceste scenarii de

calm precar, figura uman, evocat de urme i artefacte, arat

absena ei strigtoare.

Florile create de Eugen Raportoru sunt tratate cu verv i sensibili-

tate, figurativul permeabilizeaz abstractul, culoarea capt form

i for, aducnd n contemporaneitate aromele unui Andreescu,

Luchian sau Grigorescu. Sensibilitatea i fora caracterizeaz

lucrrile lui Eugen Raportoru. Este un dramatic n alegerea cro-

maticii, deseori potenat de accente puternice de albastru, rou

sau galben.

n picturile lui Eugen Raportoru create recent forma este pe

punctul de a disprea, dar rmne sentimentul, emoia, drama-

tismul vieii care rsare din spatele oricrei tue nervoase. Op-

erele sale recente au un surplus de lirism, potenat de un colorit

restrns dar puternic evident n petele mari de culoare ce se

altur unele lng altele ntr-un tumult expresiv ce poate fi definit

drept apogeul naturalismului, termen consacrat de criticul italian

Francesco Arcangeli.

Balansnd ntre redri expresioniste i abstractizri gestualiste,

pictura lui Eugen Raportoru este penetrat de spiritul informal,

acela care nu cedeaz abstraciunii, ci recupereaz din natur

lumina, atmosfera, culoarea.

Raportorus painting remains memorable by the simplicity of its

means, by the dry and retained vision of the natural and urban

environments endowed with silent and continuous transformations,

which disturb, melt and recreate the contours, refreshing them by

reverberating of an inner secret light. In these scenarios of precari-

ous calm, human figure, evoked by traces and artifacts, shows its

absolute absence.

The flowers created by Eugen Raportoru are presented with

verve and sensit ivity, the figurative style permeates the ab-

stract, the color gains shape and strength, bringing nowadays

the scent of Andreescu, Luchian or Grigorescus painting. Sen-

sit ivity and strength characterize the work of Eugen Raportoru.

He is dramatic in his chromatic choice, often boosted by strong

accents of blue, red or yellow.

In Eugene Raportorus recent paintings the form is about to disap-

pear, but remains the feeling, the emotion, the drama of life that

rises behind any nervous stroke. His latest works have a lot of

lyricism, enhanced by a limited but powerful chromatic, obvious

through large patches of color that are joined side by side in an

expressive tumult which can be defined as the ultimate Natu-

ralism, a term coined by the Italian critic Francesco Arcangeli.

Balancing between expressionist renderings and gestural abstrac-

tions, Eugen Raportorus painting is penetrated by an informal

spirit, that one who does not give way for abstraction, but regains

from Nature the light, the atmosphere, the color.

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26

BuCuRETI / BuCHAREST

ulei pe pnz / oil on canvas

160 x 200 cm

2012

27

BuCuRETI 2 / BuCHAREST 2


130 x 200 cm

2012

28

LA BORCAN / AT BORCAN


200 x 80 cm

2013

30

CLDIRE 2 / BuILDING 2


200 x 80 cm

2013

Eugen Raportoru

n picturile mele am explorat peisajul citadin, personajul lui principal

fiind casa. n toate culturile casa este o imagine a sufletului, expresia lui

vizibil. Casa are istorie, un trecut, care se adpostete n fiecare semn al

decderii ei, dar care va pulsa cu att mai puternic, n fiecare degradare

a culorii faadei, n fiecare alunecare a zidirii, de parc mplinirea destinului

ei ar fi chiar nefiina. Casa are un destin omenesc. n msura n care se

mbogete, mbtrnete, se ridic la cer....

Casa este nluntru i afar. O locuiesc i sunt trector.

Asemenea unui portret n felul n care l concep eu casa este un moment

al unei curgeri pe care o conine ca ntreg.

Pictura caselor mele nu se raporteaz la frumuseea lor arhitectural.

Frumuseea lor va rezida n pictura nsi contrariant, refuznd, instinctiv,

chiar i cele mai la ndemn convenii.

Chiar i atunci cnd ncearc s preia ntr-o msur ct mai mare experiena

picturii clasice romneti nc tinde s se mpotriveasc.

Nu urmresc s aduc inovaii, ns suprapunerea desenului cu compoziia

contrastelor, cu compoziia cromatic, cu compoziia accentelor de interes,

se las ordonate, misterios, numai de nsi compoziia sufletului meu.

Care se complace n clar-obscur, care evit categoriile, conceptele i

emoiile definite, fabula, precum i ideile abstracte i exterioare.

Frumuseea caselor mele dac aceasta poate fi recunoscut - st numai

n pictur, n ceea ce corespunde doar ntr-un fel foarte mijlocit (de interpre-

tare plastic) cu imaginea lor real.

n felul acesta figurativul mpreun cu desenul i descripia se dizolv n

culoare. n materialitatea grea, uneori dificil de digerat, alteori violent i n

aparen neglijent i ntmpltoare a pastei i tuelor, n alternarea dintre

plin i gol, dintre definitul realist i vibraia abstract eliberat a tuei i a

petei de culoare.

31

CLDIRE 3 / BuILDING 3


200 x 80 cm

2013

In my paintings I explored the urban landscape, its main character - the house. In all

cultures the house is a picture of the soul, its visible expression. The house has his-

tory, a history that accommodates itself in every sign of its downfall, but the stronger

it pulses in every decaying shade of the facade, in every slip of the walls, the more

one understands that nothingness is the fulfilling of its destiny. The house has a hu-

man destiny. It rises to the sky to the extent that it enriches, aging....

The house is inside and outside. I live in it and I am passing by.

Same as in a portrait - the way I conceive it - the house represents a moment of

time flow that it contains as a whole.

The painting of my houses does not relate to their architectural beauty.

Their beauty lies in the painting itself, an intriguing one, refusing instinctively even

the most at hand conventions.

Even when it is trying to take in as much as possible the experience of Romanian

classical painting, it still tends to resist.

I do not seek to innovate, but overlapping the drawing to the composition of

contrasts, to color composition, to the composition of interest points, all these

allow themselves to be organized, mysteriously, only by the composition of my

Soul. The one that allows the chiaroscuro, the one that avoids classified

categories, defined concepts and emotions, the fable and the abstract

and exterior ideas.

The beauty of my houses - if it can be recognized - is relying only in paint-

ing, in what corresponds to only by a very mediated way (of visual interpre-

tation) with their real image.

Thus figurative drawing and the descriptive manner dissolve within color,

within the heavy materiality, sometimes difficult to digest, sometimes

violent and seemingly careless and casual with the strokes of color, within

the alternation between full and empty, between the real definition and the

abstract vibration, the liberated stroke of color.

32



130 x 200 cm

2013

33



130 x 200 cm

2013

36

CAS / HOuSE


120 x 160 cm

2012

37

CAS BNTuIT / HAuNTED HOuSE


100 x 120 cm

2013

38

STR. POPA TATu / POPA TATu STREET


100 x 120 cm

2013

39

SOZOPOL / SOZOPOL


70 x 80 cm

2013

uN PICTOR SuRPRINZTOR

Cotidianul Libertatea, 27.11.1992

Pictorul se dovedete, de la expoziie la expoziie, un artist tot mai

stpn pe mijloacele sale de expresie, tot mai personale i unitar n

stil i viziune. Trstura caracteristic a picturii sale mi se pare a fi

marea ei discreie liric ce evit orice subiecte spectaculoase prin

ele nsele. Refuznd glgia culorilor guralive ce fac ininteligibil, prin

vacarmul lor, orice neles, mai adnc, pictura lui Raportoru solicit

din partea privitorului linitea interioar i atenia necesar perceperii

unei confesiuni rostite n oapt. Cu sfiiciunea unei sensibiliti ce

n-are nevoie de biciul ocurilor senzoriale spre a intra n rezonan,

Eugen Raportoru se apropie de locurile i aspectele umile, anonime

ale existenei noastre, dezvluindu-le poezia, blnda prezen i

nvndu-ne s o descoperim cu ochii sufletului. Case drpnate,

calcane cenuii, strzi lturalnice, flori obosite de o scurt dar

solicitant existen decorativ, dobndesc pe pnzele sale o nou

fiin a crei cldur i semnificaie nu ne mai las indifereni.

A SuRPRISING PAINTER

The daily Libertatea, 27.11.1992

The painter turns out to be, from exhibition to exhibition, an artist more

in control of his means of expression, more personal and unified in style

and vision. The characteristic feature of his painting seems to me to be

the great lyrical discretion which avoids any spectacular topics. Refus-

ing the noise of the talkative colors which make incomprehensible,

by their uproar, any deep meaning, Raportorus painting requires from

the viewer the inner peace and attention necessary to perceive a softly

spoken confession.

With the shy sensitivity that does not need the whip of sensory shock

to get in resonance, Eugen Raportoru approaches humble places and

aspects, anonymous of our existence, revealing their poetry, their gentle

presence and teaches us to discover it with the eyes of the soul. De-

cayed houses, gray shear walls, side streets, flowers tired of living a short

but demanding decorative existence, all these gain within his paintings a

new being whose warmth and meaning leaves us not indifferently.

v ictor ernest masek,

40

STR. POPA TATu 2 / POPA TATu STREET 2


100 x 120 cm

2013

41

STR. BERZEI / BERZEI STREET


120 x 100 cm

2013

42

IARN 1 / WINTER 1


70 x 70 cm

2013

43

IARN 2 / WINTER 2


100 x 120 cm

2015

44

NOAPTE / NIGHT


100 x 120 cm

2015

45

ZID / WALL


120 x 100 cm

2015

46

DETALIu DE CAS / HOuSE DETAIL


100 x 120 cm

2014

47

STR. COBLCESCu / COBLCESCu STREET


100 x 120 cm

2013

48

IARN 3 / WINTER 3


100 x 120 cm

2013

49

CAS SSEASC / GERMAN HOuSE


70 x 80 cm

2015

RAPORTORu!...

Cotidianul universul romnesc, 02.11.1992

(...) Eugen Raportoru. Maek l numea ucenic de clas al lui Andreescu.

E bogat n culori ca aceast toamn i triete poezia n palet. La

o expoziie nu se aplaud, dar epilogul oferit de acest pictor srac

e revelator. S ateptm oare, s treac vreo 50 de ani pn

s-i i vindem tablourile la licitaie? Dac a avea azi bani, i le-a

cumpra eu. Acum.

RAPORTORu!...

The daily universul romnesc, 02.11.1992

(...) Eugen Raportoru. Maek named him a high class apprentice of

Andreescu. He is rich in color like this fall and lives the poetry within his

palette. One does not applaud at an exhibition, but the epilogue offered

by this poor painter is revealing. Should we wait 50 years to pass untill

we sell his artworks in auction? If I had the money today and I would buy

them for myself. Now.

alecu popov ic i

50

IARN 4 / WINTER 4


100 x 120 cm

2014

51

POPA TATu 2 / POPA TATu 2


100 x 120 cm

2014

52

IARN N BuCuRETI / WINTER IN BuCHAREST


70 x 80 cm

2014

MANuSCRIS

Confrate mai tnr, pictorul Eugen Raportoru i face apariia mai rar

dintr-o lume a Romilor. Copil srac dintr-o familie cu 9 copii, situat la

marginea oraului i a societii, micul Eugen devine curnd un fenomen

neobinuit. El picteaz! Cine s-ar fi ateptat ca un ghemotoc mic de 7-8

ani i cam tuciuriu, mai mult dezbrcat dect mbrcat, dar inteligent i cu

o privire vie, s uluiasc prin darul lui un talent surprinztor de pictor ieit

de unde! Dovad c Dumnezeu aeaz scnteia druirii Sale acolo unde

nu te atepi. Pepita de aur a talentului strlucete pe maidan la mahala n

destinul unui pui de rom, nu al unui fiu de ministru.

I oN Brodeala-

MANuSCRIPT

younger brother of mine, the painter Eugene Raportoru, appears in a rare

manner out of the world of Roma people. Being a poor child from a family with

9 children, located on the outskirts of the city and of society, little Eugen soon

became an unusual phenomenon. He paints! Who would have thought that a

small wad of 7-8 years and even a little grimy, more naked than dressed, but

with an intelligent and lively look, would astonish with his gift - a surprisingly

talented painter appeared from where! It is the proof that God puts His dedi-

cation spark where you least expect it. The Gold mine of his talent shines in the

slum in the destiny of a young roma, not in that of a Ministers son.

53

ulei pe pnz / 80 x 220 cm / 2014

MATACHE / MATACHE


130 x 200 cm

2013

54

BALCON / BALCONy


120 x 100 cm

2015

55

PEISAJ uRBAN / uRBAN LANSCAPE


100 x 120 cm

2014

58

MATACHE 2 / MATACHE 2


100 x 120 cm

2013

59

MATACHE 3 / MATACHE 3


100 x 120 cm

2013

60



100 x 120 cm

2013

61

BD. DACIA / DACIA AVENuE


120 x 160 cm

2013

62



100 x 120 cm

2013

63

uRBAN / uRBAN


100 x 120 cm

2013

64



130 x 200 cm

2013

v ictor n i ta,-

CIVILIZAIA OCHIuLuI

Cotidianul Ora din 29.03.2001

Eugen Sandu Raportoru este rrom. Despre romi lutari tim cu toii

c sunt ct frunz i iarb. Iat i un rrom pictor!! A absolvit Liceul

Tonitza, amnunt care ne avertizeaz c nu avem de-a face cu

un amator sau un pictor naiv, popular. un alt amnunt este acela

c Eugen Sandu Raportoru, neavnd bani sau suficiente relaii ca

s intre, acum aproximativ 15-20 de ani, la Institut, a robotit prin

atelierul maestrului Corneliu Baba! Cum o fi ajuns el, un absolvent

de la Tonitza, i rrom pe deasupra, s treac pragul acelui atelier

n care doar privilegiaii au acces, e greu de spus. Putem bnui c

maestru l ar f i putut s- i spun cte ceva despre pictur,

CIVILIZATION OF THE EyE

The daily Ora, 29.03.2001

Eugen Sandu Raportoru is Roma. About Roma musicians we all know

that they are as much as leaf and grass. Heres a Roma painter!!

He graduated the Tonitza Art High School, a personal detail which

warns us that we are not dealing with an amateur or a naive, popular

painter. Another detail is that Eugen Sandu Raportoru, not having

enough money or relations to be matriculated, about 15-20 years

ago, at the Art Institute, worked in the studio of the great master

Corneliu Baba! How on earth did he end up, a Tonitza graduate,

and a Roma one, entering the door of this studio in which only the

privileged ones had access is hard to tell. One can only suppose that

65



80 x 200 cm

2013

pe lng ceea ce mai aflase la coal, dar asta ar f i trebuit s

se vad n ceea ce Eugen Raportoru a pictat. Ei bine, mai nimic

din tua sau paleta cromatic a maestrului. Peisajele sale, de o

frumusee stranie i de o sinceritate cuceritoare, sunt ncrcate

de o sensibil i tate frapant. Se simte c autorul a trit la mar-

ginea Bucuretiului, acolo unde strzile se preschimb n ulie,

iar casele, amrte i ubrede, stau parc ntr-o rn. Numai c

peisajele se individualizeaz prin drumurile care se nasc acolo, la

marginea Bucuretiului. Cu aceast sinceritate i trire a picturii

sale, Eugen Raportoru ne-a convins c a fost n atelierul maestru-

lui, de la care a preluat, poate, ndemnul de a picta doar ce simte.

the master could have told him something about painting, in addition to

what he learned in school, but this would mean that this should be seen in

his paintings. Well, almost nothing of the masters color or brush-stroke.

His landscapes, of a strange beauty and charming sincerity, are charged

by a striking sensitivity. One can feel that the author lived on the outskirts

of Bucharest, where the streets turn into paths and the houses, bitter

and shaky, are clearly bent. But the landscapes distinguish themselves

by the roads that are born there, on the outskirts of Bucharest. With this

sincerity and feeling of his painting, Eugen Raportoru convinced us that

he was in the masters studio, from whom he took maybe just the urge

to paint what he feels.

66

SIGHIOARA / SIGHIOARA


100 x 120 cm

2013

67



100 x 120 cm

2013

68

PIAA MATACHE / MATACHE MARkET


130 x 200 cm

2014

69

OMAGIu LuI MAGATH / HOMAGE TO MAGATH


100 x 120 cm

2013

70

FLORI 4 / FLOWERS 4


80 x 70 cm

2013

71

FLORI 3 / FLOWERS 3


80 x 70 cm

2013

73

MACI / POPPIES


120 x 100 cm

2014

N CE CHIP ESTE ASTZI ARTIST-PICTOR EuGEN RAPORTORu

O seam de actori contemporani obin o mare notorietate resus-

citnd, cu o fabuloas motivaie genetic, roluri de tradiie, care-i

consumaser substana n interpretri manieriste. Aceti actori, nu

foarte muli, devin nti creatori n orice spectacol, nu dramaturgii i

scenaritii.

n aceleai tipare, ale unei nzestrri naturale voluntar creative se

nasc astzi pictori care, abordnd teme i chiar inovaii stilistice pe

cale de a fi clasate de trecerea timpului, izbutesc abordri att de

seductoare ale unui repertoriu imagistic, nct tema i factura de

evalet, citate uneori cu discreie, alteori provocator n creaia lor,

mai intereseaz doar ca ecou istoric.

Prin anii 1960-1970, o generaie de tineri absolveni de Belle Arte,

care manifesta un respect destul de reinut fa de practicile de

patrimoniu ale artei autohtone, se recomandau artiti-pictori, voind

astfel s defineasc un alt tip de relaie cu trecutul din prezent i s

repun n drepturi creativitatea.

n acest chip este un artist-pictor contemporan i Eugen Raportoru.

tudor octav ian

WHAT FACE HAS TODAy THE ARTIST - PAINTER EuGEN RAPORTORu

A number of contemporary actors gained notoriety by resuscitating

through a fabulous genetic motivation traditional roles which con-

sumed their substance in mannerist interpretations. These actors,

not many, first become creators in any show, and not the dramatists

and screenwriters.

Following the same patterns, of a natural and voluntary creative

endowment, there are artists nowadays who address themes and

stylistic innovations that are just about to be classified by time, suc-

ceeding to create seductive approaches of an image repertoire in

such a manner in which the theme and type of easel painting, cited

sometimes discreetly, sometimes challenging in their creation, still

bring some interest only as a historical echo.

During 1960-1970, there was a generation of young graduates of Fine

Arts, who manifested a limited respect towards the practices of indig-

enous art heritage and recommended themselves artists - painters, in an

attempt to establish a different relationship with the past from the pres-

ent and to reinstate creativity in its rights.

74Primul fapt ce marcheaz contemplarea i tririle de toate naturile

ntr-o expoziie a lui Eugen Raportoru e monumentalitatea unor

imagini, pe care memoria cultural ne obinuiesc s le vedem

tratate n mic, n tablouae, i chiar miniatural. Mrginimile ur-

bane, cldirile povrnite i ndelung abuzate de semeni, florile n

glastr i peisajul orenesc nu-s, n sine, cea mai generoas

mbiere tematic pentru un artist-pictor cu sim filosofic. Dar pot fi

dac sunt aduse la dimensiunea marilor panouri de decor pentru

o pies a sfritului de lume sau pentru un ambient expoziional

gndit s ne tulbure cu adevrurile lui plastice - i nu n secundar

conceptuale, memoria afectiv.

Nu-s prea muli artiti-pictori de azi care, precum Eugen Rapor-

toru, ne reierarhizeaz obinuinele, ndemnndu-ne s i vedem,

acolo unde doar priveam, s cercetm critic i responsabil unele

miestrii ale tabloului de evalet transpus n mai mare i n mai

altfel, deprini cum eram de creaia interbelic doar s credem n

ele i s le cinstim.

Eugen Raportoru este, n structur, un pictor interbelic cu o

motivaie estetic ndelung reconsiderat n forfota revoltelor i a

rsturnrilor de regimuri spirituale.

un copil de 4 ani, mi-a spus, abia trezit din somn, c i-a aprut n

vis un mo cu barb alb care a profeit: Ce a fost o s mai fie !

M ntorc adeseori la zicerea minorului i de fiecare dat m

igienizez cu adevrul ei: tot ce ni se ntmpl, orict de original

poate s ne par noul, s-a mai petrecut cndva, undeva.

Originalitatea i simmntul noutii n absolut sunt doar o chesti-

une de proporii i de reconsiderare a profesiei, cu profitul cultural

pe care veacurile le adaug acestora cndva, undeva.

In this way one can consider Eugen Raportoru a contemporary

painter and artist.

The most important fact that one can contemplate and feel visiting a

Raportoru show is the monumentality of some images that our cul-

tural memory accostum us to perceive in little dimensions, miniature

like paintings.

urban slums, decayed and long-abused buildings, the flowers in the

pots and the urban landscapes are not the most generous thematic

invitation for an artist painter endowed with philosophical sense. But

they can be if brought to the massive size panels like decor for a the-

atre play about the end of the world or for an exhibition environment

thought to disturb our emotional memory with its plastic truths and

also conceptual ones.

There are not too many artists painters today who, like Eugen Raportoru,

reranks our habits, urging us to see where we just watched, to examine

critically and responsibly some mastery of easel painting, translated into

something bigger and something different, accustomed, as we were by

interwar creation, to strictly believe in them and honor them.

Eugen Raportoru is, in structure, an interwar painter, with an aesthetic

motivation long enough reconsidered during the riots and revolutions

of spiritual regimes.

A 4 year old child, once told me, waking up from sleep, that he had a

dream with an old man with a white beard who prophesied: what hap-

pened till now will happen again! I remember often the words of the child

and everytime I clean myself with its truth: everything that happens to

us, no matter how original the new can seem to us, it had happened

sometime, somewhere.

Originality and the absolute novelty are only a matter of proportions and

reconsideration of the profession, with the cultural profit added by the

centuries sometime, somewhere.

75

FLORI 6 / FLOWERS 6


80 x 70 cm

2013

FLORI 7 / FLOWERS 7


80 x 70 cm

2013

FLORI 2 / FLOWERS 2


100 x 120 cm

2013

Ce observm noi c e nou i emoionant n pictura lui Eugen Raportoru

e consecina dozajelor, a reevalurii importanelor n relaia tabloului

cu publicul. Vedem tot ce a mai fost, dar n aproape toate privinele

niel altfel. un altfel cu toate semnele unui mai deplin, cruia maturi-

tatea pictorului-artist i poate asigura de acum i durat.

Text din Catalogul expoziiei De ce nu..., Cazino Sinaia, 2014

What we see new and emotional in Raportorus painting is the con-

sequence of dosage, of re-analysing the priorities within relation

between public and artwork. We see older subjects, but almost in

every way, different. A Different with all the signs of a Complete, to

which the maturity of the painter assures Duration from now on.

Text from Catalogue of the exhibition Why not ... Sinaia Casino 2014

76

FLORI 5 / FLOWERS 5


80 x 70 cm

2014

78

TRIPTIC / TRIPTyCH


3 x 200 x 80 cm

2014

79

FLORI 8 / FLOWERS 8


120 x 100 cm

2013

80

FLORI / FLOWERS


100 x 120 cm

2013

81

FLORI 9 / FLOWERS 9


120 x 100 cm

2013

82

PICTuR DE SuFLET 1 / PAINTING FOR My SOuL 1


50 x 40 cm

2014

83



50 x 40 cm

2014

84



50 x 40 cm

2014

85



50 x 45 cm

2014

86



50 x 40 cm

2014

87

CRISTI / CRISTI


75 x 55 cm

2014

88

AuTOPORTRET / SELFPORTRAIT


50 x 40 cm

2015

90

EuGEN RAPORTORu, O DEVENIRE ARTISTIC DE EXCEPIE

Antic Art Magazin nr. 30/ octombrie 2008

Eugen Raportoru este unul dintre cei mai originali pictori din arta

plastic contemporan. (...) foarte tnr, Eugen Raportoru a avut

ansa s atrag atenia i tutelajul dsclesc al unor nume grele

precum Corneliu Baba, Mihai Cizmaru, Ion Brodeal. Prin acetia,

genele picturii tradiionale romneti, cea cu sinceritate, inim,

talent, ispita cutrii creatoare, dar fr farafaslcuri, s-au impri-

mat indeletabil n genotipul lui artistic. De atunci, Eugen Raportoru

a pictat enorm. A trit exclusiv din pictur mult nainte ca Aca-

demia de Art s i confirme, printr-o diplom, calitatea de pictor.

i-a vndut pnzele la indiferent ce pre. Pentru c el tria ca s

picteze, nu picta ca s triasc. (...)

Portrete, peisaje, naturi statice, pnzele lui nsumeaz o oper

impresionant i ca valoare i volum. Amasate mai mult pe la

colecionari geloi dect prin muzee, ele nu bucur atia ochi

de iubitori de art ci ar merita. Cndva, aceast situaie are s

se schimbe! Contient de necesitatea separrii galvanice ntre

caracter i oper, sunt totui prea tentat s spun, neortodox,

dou vorbe despre pictor ca om. Eugen Raportoru este unul dintre

artitii cei mai puri sufletete pe care i-am ntlnit. Brfuliele din

lumea artei, picanteriile, micile i delicioasele golnii colportate

de ici de colo, care pe noi poate c ne amuz sau ne excit, pe

el parc l dor. Iar marile i grelele brfe istorice despre marile i

grelele nume ale picturii romneti i provoac, definit, suferin

fizic. un nger oache i cu un ochi ui.

EuGEN RAPORTORu AN EXCEPTIONAL ARTISTIC BuDDING

Antic Art Magazin No. 30/ October 2008

Eugen Raportoru is one of the most original painters of contemporary

fine art. (...) Very young, Eugen Raportoru had the chance to draw

the attention and the teachers tutelage of famous names such as

Corneliu Baba, Mihai Cizmaru, Ion Brodeal. Through their experi-

ence, the genes of the Romanian traditional painting, the sincere

one, the heartily one, the talented, the creative one, but the one

without complications, were attached to his artistic genotype. Since

then, Eugen Raportoru has been painting a lot. He lived exclusively

from painting long before he was admitted at the Art Academy and

confirmed his quality of painter by a diploma. He sold his works at no

matter price. Because he lives to paint not paints to live. (...)

Portraits, landscapes, still natures, his canvases sum up an impres-

sive oeuvre as value and amount.

Deposited more by the jealous collectors than by museums, the

works do not bring enough joy to the art lovers as they deserve.

Sometime, this situation has to change! Aware of the necessity of

galvanic separation between nature and artwork, still I am too tempt-

ed to say, in an unorthodox manner, a few words about the artist as a

person. Eugen Raportoru is one of the purest souls that I met.

The gossips from the world of art, with the spicy and delicious little

punks gleaned here and there that perhaps amuse or excites us, hurt

him. And the great and the heavy historical gossip on the great and

famous names of Romanian painting definitely provoke to him physi-

cal suffering. A beautiful angel with an batty eye.

v ictor n i telea,

91

ROMBARO / ROMBARO


80 x 40 cm

2015

TEO / TEO


80 x 40 cm

2015

92

ROMOCEANu / ROMOCEANu


80 x 70 cm

2015

93

PEISAJuL RECONSIDERAT

Revista lunar Litere, nr.3/ martie 2014

La mijlocul lui ianuarie a.c. am avut ansa de a vizita o expoziie de

pictur care mi-a tiat respiraia prin multiplele valene, implicaii

i reuite tehnice rareori folosite n respectiva art frumoas.

Evenimentul resimit de mine, ca i de destui (dar nu suficient de

muli) vizitatori s-a produs la Galeriile Simeza de pe bulevardul

bucuretean Magheru i ncununeaz, cel puin deocamdat,

activitatea de pictor a lui Eugen Raportoru, cunoscut i remarcat

de subsemnatul nc n urm cu vreo patru decenii, cnd curiozi-

tatea de reporter TV a fcut s cred n ansele artistice ale unui

copil minune, deloc agresiv, deloc iconoclast, biat crescut n

frica lui Dumnezeu, n cultul muncii, al artei i al respectului fa

de familie. Prin Peisaje (aa se numete fiecare lucrare), Eugen

Raportoru realizeaz n pictur ceea ce Tudor Arghezi reuise

n mult discutata plachet 1907 (subintitulat Peisaje), adic o

detaare total de tiparele clasice. Artistul ofer la aceast vrst

viziunea proprie asupra unor vechi strzi bucuretene, unor case

aflate n pragul prbuirii prin grija edililor Capitalei. universul este

comaresc, parc ireal, pecetea extinciei izbucnete de pretutinde-

ni, descoperit de ochiul unui artist care vede dincolo de aparene,

dincolo de contururile materiale bnuite de o infinit fragilitate.

THE LANDSCAPE RECONSIDERED

Monthly magazine Letters No.3/ March 2014

In mid-January A.C. I had the chance to visit an art exhibit ion

that took my breath away by the multiple valences, implications

and technical achievements, rarely used in this kind of art.

Th is event tha t moved me and more o ther v is i to rs (bu t not

enough) took p lace a t the S imeza Ga l le r y on Magheru

Avenue in Buchares t , and crowns, a t leas t fo r now, the

a r twork o f Eugen Rapor to ru , known and not iced by the un-

ders igned fo r about four decades ago, when the cur ios i t y

o f a TV repor te r made me be l ieve in the a r t i s t ic chances o f

a p rod igy, a t a l l aggress ive , a t a l l i conoc las t , a ch i ld tha t

g rew up w i th the fear o f God, worsh ipp ing work , a r t and

fami l y.

Through any landscape (he names th is way ever y pa in t ing ) ,

Eugen Rapor to ru conce ives in pa in t ing what Tudor Ar-

ghez i d id in h is long debated book le t 1907 ( a lso ent i t led

Landscapes) , tha t i s a comple te detachment o f c lass ica l

pa t te rns. The a r t i s t o f fe rs h is v is ion o f h is age on some o ld

s t ree ts o f Buchares t , on some decay ing houses he lped

by the mayor s care . The un ive rse is l i ke a n igh tmare, al-

most surreal, the seal of ext inct ion bursts everywhere.

L I V I U G r a s o i u-

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100Nscut: 12 februarie 1963, n Drgneti-Olt

StuDII

Absolvent al Institutului de Art Nicolae Grigorescu, Bucureti, Facultatea de Art

Plastic, secia Sculptur, promoia 1987

Membru al uniunii Artitilor Plastici din Romnia, din anul 1996.

ExPozIII PERSoNAlE

1997 - Galeria Cminul Artei, Bucureti

1998 - Galeria Cminul Artei , Bucureti

2003 - Galeria Simeza, Bucureti

2003 - Muzeul de Art, Rmnicu Vlcea

ExPozIII DE gRuP

1987 - Expoziia Tineretului, Sala Dalles, Bucureti

1995 - Expoziia Atelier 35, Galeria Cminul Artei, etaj, Bucureti

1996 - Expoziia de sculptur mic, Galeria Orizont, Bucureti

1996 - Bienala de art plastic, Trgovite

1997 - Expoziie de sculptur mic, Galeria Orizont, Bucureti

1997 - Bienala de art plastic, Piatra Neam

1998 - Bienala de sculptur mic, Arad

1998 - Salonul Municipal, Bucureti

1999 - Expoziia de sculptur Dantesca, Ravena/ Italia

1999 - Expoziia de desen, Arad

1999 - Expoziia de art plastic, Rmnicu Vlcea

2002 - Expoziia Tokio Metropolitan Art Space Exhibition Gallery, Japonia

2002 - Bienala de art, Bacu

2003 - Expoziia Tokio Metropolitan Art Space Exhibition Galery, Japonia

2004 - Expoziia Tokio Metropolitan Art Space Exhibition Galery, Japonia

2006 - Expoziia de sculptur mic, Galeria Apollo, Bucureti

2007 - Salonul Naional de Art, Sala Brncui a Parlamentului Romniei

2007 - Bienala de art, Veneia/ Italia, Pavilionul Roma

2007 - Expoziia internaional Power and Fire, organizat de Muzeul Satului

(Italia, Frana, Spania, Germania, ungaria)

C U r r I C U L U M V I T a E

Born: 12th of February 1963, in Drgneti-Olt

EDuCAtIoN

Graduate of Nicolae Grigorescu Institute of Fine Arts, Bucharest, Faculty of Fine Arts,

Department of Sculpture, 1987 class

Member of the Romanian Artists union since 1996.

PERSoNAl ExhIBItIoNS

1997 - Cminul Artei Gallery, Bucharest

1998 - Cminul Artei Gallery, Bucharest

2003 - Simeza Gallery, Bucharest

2003 - The Museum of Art, Rmnicu Vlcea

gRouP ExhIBItIoNS

1987 - youth Exhibition, Dalles Hall, Bucharest

1995 - Atelier 35 Exhibition, Cminul Artei Gallery, Bucharest

1996 - Exhibition of Small Sculpture, Orizont Gallery, Bucharest

1996 - The Biennale of Fine Arts, Trgovite

1997 - Exhibition of Small Sculpture, Orizont Gallery, Bucharest

1997 - The Biennale of Fine Arts, Piatra Neam

1998 The Biennale of Small Sculpture, Arad

1998 The Municipal Salon, Bucharest

1999 - Dantesca Sculpture Exhibition, Ravenna/ Italy

1999 - Drawing Exhibition, Arad

1999 - Fine Arts Exhibition, Rmnicu Vlcea

2002 - Tokyo Metropolitan Art Space Exhibition Galery Exhibition, Japan

2002 - Bacu Art Biennale

2003 - Tokyo Metropolitan Art Space Gallery Exhibition Exhibition, Japan

2004 - Tokyo Metropolitan Art Space Exhibition Gallery Exhibition, Japan

2006 - Small Sculpture Exhibition, Apollo Gallery, Bucharest

2007 - The National Art Exhibition, The Parliament of Romania -Brncui Hall

2007 The First Roma Pavilion at the Venice Art Biennale, Italy

2007 - Power and Fire International Exhibition, organized by the Village Museum (Italy,

France, Spain, Germany, Hungary)

1012007- Expoziia Power and Fire, Sala Brncui, Parlamentul Romniei,

organizat de Muzeul Satului

2007- Expoziia de sculptur mic, Galleria Apollo, Bucureti

2008- Expoziia Contemporary Art 10+1, Galeriile de art Focani

2011- Expoziia Sinteze Contemporane n Arta Romneasc, Galeria

Constantin Brncui

2012- Salonul de gravur i sculptur ediia a II-a, Galeria Simeza

2013- Expoziia de pictur i sculptur, Galeriile de art Focani

2014- Expoziia organizat de Bibliotec Naional a Romniei, n parteneriat cu

organizaia Romani CRISS 8 aprilie

2014- Expoziia Internaional de Art under Ground Zero Muzeum, organizat

de uniunea Artitilor Plastici - filiala Rmnicu Vlcea, Salina Ocnele Mari

tABERE DE CREAIE

1987- Tabra de sculptur n piatr, Covasna

1988- Tabra de sculptur n piatr, Scnteia/ Iai

1996- Tabra de sculptur Oarba/ Mure

1998- Tabra de sculptur n metal, Rmnicu Vlcea

2000- Tabra internaional de arte vizuale, Budapesta/ ungaria

2001- Simpozionul Artele Focului, Rmnicu Vlcea

2001- Tabra internaional de sculptur Brncuiana, Trgu Jiu

2003- Simpozion de grafic i desen, Rmnicu Vlcea

2004- Tabra internaional de sculptur Veliko-Tarnovo/ Bulgaria

2004- Tabra de sculptur Stuf, Murighiol/ Tulcea

2007- Simpozionul de sculptur i arhitectur Jurilovca/ Tulcea

2007- Tabra internaional de sculptur, Bran/ Braov

PREMII

2002- Premiul III la Salonul de Art, Bucureti.

2007 - Power and Fire Exhibition, organized by the Village Museum at the Parliament

of Romania -Brncui Hall

2007 - Small Sculpture Exhibition, Apollo Gallery, Bucharest

2008 - Contemporary Art 10 + 1 Exhibition, Focani Art Galleries

2011 - Contemporary Synthesis in Romanian Art Exhibition,Constantin

Brncui Gallery

2012 The Second Exhibition on Engraving and Sculpture, Simeza Gallery

2013 - Painting and Sculpture Exhibition, Focani Art Galleries

2014 - Exhibition organized by the National Library, in partnership with the Romani

CRISS organization - April 8th

2014 - The International Art Exhibition under Ground Zero Muzeum, organized by

the Romanian Artists union - Rmnicu Vlcea branch, Ocnele Mari Salt Mine

ARt CREAtIvE CAMPS

1987 - Stone Sculpture Camp, Covasna

1988 - Stone Sculpture Camp,Scnteia/Iai

1996 - Sculpture Camp,Oarba/ Mure

1998 - Metal Sculpture Camp, Rmnicu Vlcea

2000 - The International Visual Arts Camp, Budapest/ Hungary

2001 - The Arts of Fire Symposium, Rmnicu Vlcea

2001 Brncuiana International Sculpture Camp, Trgu Jiu

2003 Symposium on Graphic Art and Drawing, Rmnicu Vlcea

2004 The International Sculpture Camp, Veliko-Tarnovo/ Bulgaria

2004 - Cane Sculpture Camp, Murighiol/ Tulcea

2007 - Symposium on Sculpture and Architecture, Jurilovca/ Tulcea

2007 The International Sculpture Camp, Bran/ Braov

AwARDS

2002 The Third Prize at The Art Salon, Bucharest

MarianpETrE

SCULPTUra/

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arta contemporana

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CONTEMPOrarYarT

104

CONEXIuNE / CONNECTION

metal inoxidabil / inoxidable metal

50 x 55 x 55 cm

2003

107

Forma uman n sculptur a reprezentat un subiect central nc din

timpuri antice, maetrii concentrndu-se, de-a lungul secolelor, s

perfecioneze graia, elegana i complexitatea anatomiei umane,

iar Marian Petre alege acest subiect nu doar ca un argument figu-

rativ, ci ca o cltorie a sufletului.

Prezen constant n creaia sa, figura uman a reprezentat plat-

forma perfect pentru conceptele sale artistice. Exist o conexiune

imediat ntre obiect i privitor, chipul fiind perfect recognoscibil

aa cum se poate observa n lucrri precum Vis, Familia, Por-

tret, Radiografia iubirii. Conceptual, este evident dorina sculp-

torului de a include reprezentri figurative pe care le ncorporeaz

unor forme suport n scopul crerii unor stri emoionale sau

tensiuni n sufletul privitorului. Elegan, poezie, umbre i lumini

rezid n creaia lui Marian Petre ale crui opere reprezint un apel

la origini, un omagiu adus Omului. Chipurile i trupurile concepute

de sculptor evoc putere i fragilitate, sensibilitate, dar i iluzia

siguranei pe care o aduce societatea modern.

Marian Petre este un sculptor vizionar, cu tendine renascentiste,

a crui oper i gsete inspiraia n misterul profund i sacru al

vieii, arta sa facilitnd meditaia i nlarea spiritual a privitoru-

lui. Balansnd volumele pline ale lemnului cu formele delicate ale

filamentelor metalice, Marian Petre caut s dea o senzaie de

suplee i micare prin utilizarea unor materiale ale cror caracter-

istici sunt la polul opus.

D IaNa SaVU

Human figure in sculpture represents a central theme from ancient

times, the grand masters focusing, over the centuries to give per-

fection to the grace, elegance and complexity of human anatomy

and Marian Petre chooses this topic not only as an argument for

his figuration, but as a journey of the soul.

Constant presence in his creation, the human figure was the

perfect platform for his artistic concepts. There is an immediate

connection between object and viewer, the face being perfectly

recognizable as can be seen in works such as Dream, Family,

Portrait, Radiography of love. Conceptually, it is obvious the

sculptors desire to include figurative representations which he

attaches to some support forms in order to create emotions or

tensions in the soul of the viewer. Elegance, poetry, shadows and

lights lie in the creation of Marian Petre whose work represents

a call to origins, a tribute to Human being. The faces and bodies

created by the sculptor evoke strength and fragility, sensitivity, but

also the illusion of security brought by the modern society.

Marian Petre is a visionary sculptor with Renaissance tendencies

whose work finds inspiration in the deep and sacred mystery of

life, his art is facilitating the meditation and spiritual exaltation of

the viewer. Balancing the full volume of wood and the delicate

forms of metal filaments, Marian Petre seeks to give a sense of

movement and flexibility through the use of materials whose char-

acteristics are quite opposite.

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108Morfologia crea i i lor sale este remarcabi l de f lex ib i l, con-

fer ind v igoare n egal msur unei mater i i att de moderne

precum metalu l prelucrat, ct i meteugulu i ant ic de a

grava/spa n lemn.

Stilul su provine din folosirea materiei nude i armate n

acelai timp, cuplnd lemnul cu inoxul sau metalul n compozii i le

sale. Provocarea pe care i-o impune sculptorul este una rafinat

estetic: o materie reformat (metalul) i volume primitive, dar i

solemne, elegante ce deriv, parc, din cea mai intim rsuflare.

Admirnd sculpturile sale, privitorul este invadat de dorine tac-

tile, dar i de emoii puternice. Metalul folosit de Marian Petre are

o carnaie proprie, respectnd riguros legile staticii i dinamicii,

dar i un grafism/ scriitur delicat sau nervoas, care nchide

sau deschide forme spre sentimente i emoii. Pe de alt parte,

lemnul are concreteea sa opac, fr asperiti, sculptorul

alegnd aceast materie pentru a invada spaiul cu sculpturi care

dezvluie un calm sever, aproape ascetic.

Marian Petre ne ofer, deci, o cartografiere creativ a chipului

uman n care filamentele de metal/inox sunt modelate i forjate

n forme tridimensionale. Aa cum alchemitii medievali doreau

transformarea metalului obinuit n aur, la fel, sculptorul ridic

aceast materie comun la nivelul sublimului, transformnd

rmie ale lumii industriale n opere de art pline de vitalitatea

spiritului su creator.

Delicateea firelor metalice i reeaua dantelat pe care o

deseneaz capteaz privirea de jur mprejur, ns masivitatea

volumelor pline ale lemnului o centreaz demonstrnd ncrederea

i sigurana artistului de a altura transparene i opaciti ale

unor materialiti diferite.

The morphology of his works is remarkably flexible, giving an equally

effective vigor to a modern material such as the metal as to the ancient

craft of engraving / digging into the wood.

Marian Petre has developed a personal language transiting from two-

dimensional reliefs to three-dimensional forms, moving frequently from

one practice to another with constant exploration and mutual contamina-

tion. His style comes from the use of nude material and the armed one

while pairing the wood with stainless steel or metal in his compositions.

The challenge settled by the sculptor is one of a refined aesthetic:

a reformed material (metal) and primitive volumes, but also solemn

and elegant, as if deriving from the most intimate breath. Admiring his

sculptures, the viewer is invaded both by tactile desires and strong

emotions. The metal used by Marian Petre has a special carnation,

rigorously complying with the laws of statics and dynamics, but also

has a delicate or nervous graphic element/ writing, which closes or

opens the form to feelings and emotions.

On the other hand, wood has an opaque concreteness, with slippery

surface, the sculptor choosing this material to invade the space with

works that reveal a severe calm, almost ascetic.

Marian Petre gives, therefore, a creative mapping of the human face

in which filaments of metal/steel are twisted and forged into three-di-

mensional shapes. As medieval Alchemists wanted to transform metal

into gold, the same way the sculptor, raised this common matter to the

sublime, transforming the remnants of the industrial world in artworks

endowed with the vitality of his creative spirit.

The delicacy of the metal wires and the laced network that the sculptor

design capture the eye all around, but the massiveness of the full volume

of wood focus it showing the full trust and confidence of the artist to put

together the transparency and opacity of very different materialities.ART

IT

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109Aa cum reeaua labirintic a f irului metalic are o natur texti l,

f lexibi l, adaptabil, superficial, subiect al unor mutai i statice

imprevizibi le, dar intenionate, sculpturi le lui Marian Petre

dezvluie transformri le, migrai i le, evolui i le i involui i le umane

de-a lungul viei i. Marian Petre a elaborat un limbaj personal cu

care tranziteaz de la bidimensionalul baseoreliefat la tridimension-

al, trecnd frecvent de la o practic la alta cu continue explorri

i contaminri reciproce. Marian Petre deseneaz cu vidul,

tematica abordat fiind elaborat i distilat prin transparene i

aerri ale ideii de vid. Sculpturile sale dezvluie imediat o gestu-

alitate ritual, atent i rbdtoare, repetitiv prin infinite variaii ce

moduleaz poetic firul metalic n figuri ce restabilesc cartografierea

iniial de semne pe hrtie. Este, deci, un compromis n tensiunea

dintre vidul care nfoar i, paradoxal, umple sculpturile, i pli-

nul, volumul tridimensional al acestora, fiind un dialog nenterupt,

ntre intern i extern, al unor opere nchise i deschise, trans-

parente i opace, izvorte dintr-un tumult sufletesc, dintr-o dram

personal, dintr-o istorie social i etnic.

As the labyr inth ine network of metal wire has a text i le, f lex-

ib le, adaptable, shal low nature, st i l l subject to unpredict-

able, but intent ional mutat ions, Mar ian Petres sculptures

reveal changes, migrat ion, human developments and regress

t

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