Symmetrical, Never Identical
The exhibition 鈥淪ymmetrical, never identical鈥� is part of the Art Encounters Foundation鈥檚 curatorial and strategic initiative to foster connections between different generations of artists, whose works can thus be contextualized conceptually, not only chronologically.
Ioana B膬tr芒nu (b. 1960) is known for a valiant, prolific, and significant work, publicly present since the mid-1980s, in a tough period, which left its mark on the artist鈥檚 destiny. Ioana Batr芒nu鈥檚 painting absorbs everyday reality, the marginality of existence, and the contradictions of our spaces, marked by imposed and self-imposed social norms. The tension of her paintings is enhanced by the expression of her brushwork and chosen chromatics, and the recurrence of themes (Melancholic Interiors, Virgins, Closed Gardens, Dolls, and others) establishes a personal style of exceptional value and vitality. The spatial typologies the artist chooses to work with are reminiscent of those 鈥渟pecies of spaces鈥� that Georges Perec saw as extensions of memory: 鈥渟pace as inventory, space as invention.鈥�
Adela Giurgiu (b.1990) returns almost obsessively to several themes that occupy her pictorial workspace and which, viewed together, seem to outline a universe marked by alienation, duality, isolation, and dreaming, all amplified by the tensions of spaces in which they reside. The shadow motif can suggest both the Jungian archetype and a metaphor of time as if inspired by Haruki Murakami鈥檚 writings about timeless worlds and subterranean levels, where the shadow clips out on the boundary between reality and fiction. Adela Giurgiu鈥檚 recent paintings (the cycles You and Your Shadow, Lost but Found, Apparition, and others) contribute to a dialogue with Ioana Batr芒nu鈥檚 favorite themes, nurturing the same lonely and heavy atmosphere, in which only the imagination can cut small slits of light.
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The exhibition 鈥淪ymmetrical, never identical鈥� is part of the Art Encounters Foundation鈥檚 curatorial and strategic initiative to foster connections between different generations of artists, whose works can thus be contextualized conceptually, not only chronologically.
Ioana B膬tr芒nu (b. 1960) is known for a valiant, prolific, and significant work, publicly present since the mid-1980s, in a tough period, which left its mark on the artist鈥檚 destiny. Ioana Batr芒nu鈥檚 painting absorbs everyday reality, the marginality of existence, and the contradictions of our spaces, marked by imposed and self-imposed social norms. The tension of her paintings is enhanced by the expression of her brushwork and chosen chromatics, and the recurrence of themes (Melancholic Interiors, Virgins, Closed Gardens, Dolls, and others) establishes a personal style of exceptional value and vitality. The spatial typologies the artist chooses to work with are reminiscent of those 鈥渟pecies of spaces鈥� that Georges Perec saw as extensions of memory: 鈥渟pace as inventory, space as invention.鈥�
Adela Giurgiu (b.1990) returns almost obsessively to several themes that occupy her pictorial workspace and which, viewed together, seem to outline a universe marked by alienation, duality, isolation, and dreaming, all amplified by the tensions of spaces in which they reside. The shadow motif can suggest both the Jungian archetype and a metaphor of time as if inspired by Haruki Murakami鈥檚 writings about timeless worlds and subterranean levels, where the shadow clips out on the boundary between reality and fiction. Adela Giurgiu鈥檚 recent paintings (the cycles You and Your Shadow, Lost but Found, Apparition, and others) contribute to a dialogue with Ioana Batr芒nu鈥檚 favorite themes, nurturing the same lonely and heavy atmosphere, in which only the imagination can cut small slits of light.
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