B
i o g r a p h y , C
r i t i c s *&* R
e v i e w s
KLOSKA(Ovidiu
Closca)
born in Romania, Neamt district,in
a small town in N-E of Romania at 27 of
july 1977.
In 2000 he graduated
the Technical University "Gheorghe Asachi" from
Iasi, Romania, Faculty of Electronics and Telecommunication. In 2009 he graduated
master classes at "George Enescu" Art University from Iasi, Faculty
of Fine Arts with the project "Urban wear - oniric interferences - object
of art". Lives and creates in Focsani, Vrancea district from Romania.
-
1999 - personal exhibition - pen
and ink drawings - The house of the
students, Iasi, Romania - "The
student Art Week" ;
- 1999 - personal exhibition - pen
and ink drawings - "Luceafarul" Theater,
Iasi, Romania;
- 1999 - collaboration with Literal
Association"Outopus" - illustration
of no. 5 number of the literary periodic;
- 1999 - collaboration with the poet
and dramaturg Mircea Rotaru - illustration
for the dramatic piece "The house
between worlds";
- 2002 - personal exhibition - paintings
and graphics on canvas - Art Galleries
Focsani, Romania;
- 2002 - collaboration with the literary
association "Oglinda Literara" Vrancea,
illustrations for the no. 13/ year
II;
For the period 2002 and 2007 - Art
director and Master graphic designer
- ONMEDIA Design, Focsani, Romania.
- 2007, january - TIAV Bucharest -
International Festival for Visual Arts
2007 - represented by Hidalgo Art Gallery;
- 2007, february - group exhibition
- ArtSpace 2000 - International Center
for Culture and Arts "Arcus",
Sf. Gheorghe, Romania;
- 2007, april - personal exhibition
- "Hidalgo Art Gallery" -
Focsani, Romania;
- 2007, november - personal exhibition
- Art Galleries Focsani, Romania;
- 2007, october - personal exhibition
- "Espace Costos" Gallery
- St. Tropez, France;
- 2007, december - personal exhibition
- Galleries of Art - Focsani, Romania;
- 2008, june - group exhibition - " Atelier
35" - World Trade Center, Iasi,
Romania;
- 2008, july - personal Exhibition
- "Incandescent and wears" - "Tonitza" UAP
Art Gallery, Iasi, Romania;
- 2008, july - group Exhibition - " Moldavian
Salons " - Galeries and Institutions
from Bacau, Bucuresti, Chisinau;
- 2008, august - group exhibition - " The
city" - World Trade Center, Iasi,
Romania;
- 2008, august - group exhibition - " 4
romanian contemporary artists" -
Nably, France;
- 2008, november - personal Exhibition
- "Urban wear - oniric interferences
- object of art " - International
Center for Culture and Arts "George
Apostu" , Contemporary Art Gallery,
Bacau, Romania;
- 2009, november - personal Exhibition
- "Memory mark " - paintings,
graphics, meta-object, photography
- Focsani Art Galleries, Focsani, Romania.
Caderea în
Timp...
Odata cu noile creatii ale pictorului
Ovidiu Kloska, problema etica si
estetica a rediscutarii
intervalului ce desparte, dar si apropie
lumea mundana, subsolara, de cea celesta,
revine cu putere în actualitatea
unui timp ale carui repere spirituale
par a fi
fost definitiv uitate de omenire.
Intervalul dintre lumea terestra si cea
celesta, înteles
nu doar ca un vid, ci ca un spatiu umplut cu îngeri
si oameni deopotriva, ofera sansa absorbirii
tuturor celor deschisi duhului, în lumina
izbavitoare ce se contureaza sistematic si
treptat în jurul fiecarui înger
realizat de artist. Îngerii lui Koska – daca
ne este permisa aceasta fortare a ideii si
exprimarii deopotriva – în pendularea
lor între Absolut si Mizeria Mentala
ofera în susbsidiar alternativa eliberarii,
mântuirii spirituale, izbavirii din cercul
de fier al existentei materiale exprimate prin
corporalitatea în care este constrâns
sa fiinteze o perioada spiritul, a carui esenta
nu poate fi decât una singura si exprimata
prin atributele specifice intangibilului. Se
stie, spiritul nu poate fi decât
absolut liber!
Vectorul ce ne demonstreaza acest fapt
este tocmai îngerul atipic din creatia lui
Kloska, întrucât desi pare contaminat
de suferinta intrinseca specifica umanului,
manifesta libertatea sinelui propriu prin jocul
fantastic al luminii dezvoltat în diverse
forme, unele mai surprinzatoare decât
altele.
Î
ngerul, înteles ca mesagerul, ca intermediarul
dintre cele doua lumi – desi, binarul
astfel perceput reduce cu mult esenta spirituala
a Marelui Interval – propune o alta varianta
intra-existentiala, fiintiala, ce rupe spatii
considerate date si imuabile, dezvoltând
deopotriva paradigme altfel imposibil de conceput
si priceput mintilor obisnuite. Observam, de
pilda, cum artistul surprinde manifestari suis-generis – corporal-umane
ale îngerilor, redirectionând elanul
biblic, nascut în urma gestului, conform
caruia Dumnezeu l-a creat pe Om dupa chipul
si asemanarea Sa; la Kloska, îngerii,
ca extensii ale lui Dumnezeu, sunt creati dupa
chipul si asemanarea Omului, asa cum este acesta
strivit în nefericirea-i sisific terestra,
mai mult decât în fericirea
de provenienta transcendentala.
Corporalitatea îngerilor, aparitia mâinilor în
imaginea oniric grava, devoalata printr-o lume
a începuturilor creatului increat, apare
socant exploziva, cu trairi specifice omului,
marcate de chipuri aparte, fie cazute în
meditatii profunde, fie exteriorizând
trairi aflate în vecinatatea mirarii, înfricosarii
de dinaintea marilor treceri, iluminarilor
instantanee, detasarilor reci, sfârsirilor
eterne.
Construct senzational, aparentul corp al îngerului – îngerilor – surprinde
prin planul vizibil si cel invizibil, intuibil, însa;
avem de a face cu o corporalitate secundara
mai mult intuita decât rationata, adica
nu reprodusa. Ea se dezvolta ca senzatie cu
brio si poate marca, în opinia noastra, începutul
unui nou drum în arta contemporana; se
adauga figura – figurile, respectiv chipurile îngerilor,
care par ca se confunda în background-ul întunecat-luminos,
continuând, astfel, ideea evadarii din
sine si, prin aceasta, din constrângerile
nefaste ale lumii materiale.
Dualitatea prezentata de corp si spirit,
de lumina si întuneric, creeaza înselatoarea
impresie a ideii exprimate cândva de
M. Foucault, conform careia „totul seamana
cu totul, orice cu orice”, însa
artistul stie sa evite cliseele, vechile presupozitii
culturale ale spatiului în care se misca
estetic creând senzatia de certa usurinta,
nicidecum de usuratate, imaginile sale nedând
vreun moment impresia ca sunt gata facute,
urmare a unor obisnuinte de gândire ori
de reflexe studiate în oglinda.
Avem de a face cu o spargere a tiparelor
gândirii
descartiene, ce impunea cândva o rationare
directa, fara intermediari, caci autorul ne
propune o gândire mediata tocmai de îngerii
deveniti, cum afirma Durand „simboluri
ale functiei simbolice însasi”; în
loc sa dispara îngerii reapar în
forta într-un timp care cere mai mult
ca oricând prezenta lor drept singular
suport al salvarii noastre însine.
Rasucirile sufletului sunt investigate
pe îndelete,
iar reactiile dezvoltate prin intermediul recentelor
creatii comprima revelator geamatul omului
contemporan infirm, sugerând, parca,
un lucru extraordinar: ca pâna si spiritul
se negociaza, la urma urmei. Dar aceasta este
numai o sugestie, ce ne trimite la spusa lui
Rabelais, conform careia pâna si „pestii
urla”.
Transcendenta este înlocuita cu energii
speciale ce coboara în trup, iar acest
fapt nu reprezinta altceva decât eterna
cautare de sine a artistului, a insului obligat
sa traiasca într-o lume pustiita, dar în
care apare oportun, aripa salvatoare a îngerului.
Acest lucru este vizibil în creatia lui
Kloska, întrucât, la un moment
dat, mâinile îngerilor devin aripi
de lumina orange, desprinderea de ce este comun
si caracteristic omului delimitându-se,
atunci, transant, aratându-ni-se
ca artistul dispune, realmente, de organul
necesar
receptarilor
fenomenelor subtil-mistice, relevate aproape
paradoxal prin elementele materialitatii
acestei lumi.
Opozitia contrariilor, veti spune; iar noi
vom fi de acord!
Prof.dr. Fl.Agafitei
Noiembrie 2010
"Fall into Time...
With the new creations of the painter Ovid
Kloska, the ethic and aesthetic problem
of the re-discussing The Intervalul witch
separetes,
but also is approaching the mundane world,
sub-solar, by the celestial one, is returning
with power in the actuality of a time whose
spiritual landmarks seem to have been permanently
forgotten by humanity.
The Interval between the terrestrial
and celestial world, understood not only
as
a vacuum, but
as a place filled with angels and humans
alike, is offering the chance of the
absorption of
all with the open spirit, in the redemptive
light that systematically and gradually
shaping around each angel "made" by the
artist. Kloska's Angels – if we are
allowed in this forcing in both the ideea
and the expressing – in
their oscillation between Absolute and
Mental Misery, they are offering in susidary
the
alternative of the a redemption, a spiritual
salvation,
a deliverance from the iron ring of material
existence expressed through the corporality
where the spirit is constrained to exist
a periode, whose essence can only just
only one
and expressed by the atributes specific
to the intangible. It is known, the spirit
can
only be absolutely free !
The vector that demonstrates this fact is
just the atypical angel from Kloska's creation,
whereas, although apparently contaminated
by
the intrinsic suffering specific to the human
kind, he manifests the liberty of the own
self by the fantastic play of light developed
in
various forms, some more surprising than
others.
The angel, understud as the messanger,
as the intermediary between this two worlds– althrough,
the binary perceived in this way is reducing
with high amount the spiritual essence of
the Great Interval – propossing o diferent
intra-existential variant, a being one, that
brakes spaces considered immutable and fixed,
developing in this way both paradigms that
are imposibil to concept and perceived by
the ordinary minds. We observ, by the way,
how
the artist is astonishing events suis-generis – corporal-humanlly
of the angels, in this way redirecting
the biblic elan, born after the gesture,
according
to which God created the human after His
own face; to Kloska, the angels, as extensions
of God, are created with the face and kind
of the man, as it crushed in its own Sisyphean
terrestrial misery , more than in the happiness
of the transcendental origin.
The corporality of the angels, the aparition
of the hands in the grave oniric image, de-veiled
by a world of a beggining of the increated
Create, is shocking appears like an explosion,
with feelings specific to human kind, marked
by special portrets, some fallen into deep
meditation, some exteriorizing experiences
in the vicinity of wonder, or intimidation
before the big Pass, or instant illuminations,
cold detachment, eternal ends.
Sensational Construct, the apparently body
of the angel – angels – is captured
by visible and invisible plane, intuit, but;
we have to deal with secondary corporality
much more inferred then rational, in the
means of non-reproduction. It develops successfully
like a feeling and has the power to mark,
in
our opinion, the beggining of a new road
in contemporary art; adding the figure – the
figures, respective the faces of the angels,
that seem to merge into the dark - light
background, continuing, in this way, idea
of escaping from
himself and, thereby, from the negative
constraints of the material world .
The duality presented by the body and the
spirit, by the light and dark, is creating
the deceptive
impression of the idea once expressed by
M. Foucault, that „everything looks
like everything, any with any”, but
the artist knows how to avoid clichés,
old cultural assumptions of the space where
he makes his
aesthetic moves, creating the sensation
of certain easily, nowise of lightness,
his
images not giving us the impression that
they are
ready-made, resulting from some habits
of thought or reflexes studied in the mirror.
We are dealing with a braking of patterns
of descartiene thinking, that once required
a
direct reasoning, without intermediaries,
because the author proposes us a mediated
thinking
even by the angels that becamed, as Durand
wrote: „ symbols of the symbolic function
itself ”; instead of disappearing
, the angels are re-appearing in force
in a
time
that requires more than ever the presence
of them as the singular support of our
salvation as ourselves.
The twistings of the soul are leisurely
investigated, and the reactions developed
through the recent
creation are compressing the revealing
groan of the invalid contemporary man,
suggesting,
in a way, an extraordinary thing: that
even the spirits can be negotiated, at
the end.
But this is only a suggestion, that send
us to the told of Rabelais, that even „ the
fishes are howling”.
The Transcendence is replaced with special
energies that are downing into the body,
and this fact and this is no more than the
artist's
eternal search for self, the search of the
spirit forced to live in a desolate world,
but where opportunelly appears, a saving
wing of an angel.
This thing is very visible in Kloska's creation,
whereas, at a time, the hands of the angels
are becaming wings of orange light, the detachment
from what is common and characteristic to
the man is detaching , then, trenchant, showing
us that the artist has, truly, an organ that
is necessary to receive the subtly mystical
phenomena, almost paradoxical revealed by
the
materiality elements of this world.
Opposites opposition, you will say; and
we agree!"
Prof.dr. Fl.Agafitei
November 2010
Kloska's Angels
In the Klosks's paintings form the last years
its dominates, even many couldn't observed,
the simplicity and humility:
the simplicity from which the art, all-doing,
is revealing with nothing more than the artist
wants;
because Ovidiu Kloska wants that and ..dindn't
wants that!
Looking closely, I noticed one major action in the works, specifically to a
good drawer, which is joined, in an intimate collaboration, the colourist.
Everything is seemingly simple, beautiful, a profound beauty, spiritual one,
a beauty that tells a story, the story that You think he is telling;
everything is natural, inspire, reinforcing in me the idea ... of creative
freedom.
But how would reconcile the idea of beauty with the fleshless cheeks of angels,
deprived of material, only the spirit deeper corners of the mouth with the
look absorbed absorbed into the very material of the angel doubled by extraordinary
spiritual mobility. Everything is in a light that overlaps the background
from witch come out snippets of life as the angel is feeling in us and a a
desolate world, a confused world,
crushed under the seal of an anguish destiny , but witch, paradoxically, may
leave room for hope.
The movement- in its stillness - s soaked by a strange slowness, in the almost
irresistible inclination of the divine head, of the return over the shoulder
opening the endless infinity of the orbits...
And here, I can not help not noticing a restricted range of tones, then the
blue, that strange blue ... a pressed line, excessively un-natural elongated
forms, arms that are flowing like the water.
The angel, almost by narural size, invades the viewer's space, enough to convey
the message, s a kind of oracle, or an answer doubled in a mirror,
the mirror of the perverse thought, of cource.
What the viewer will choose remains to be seen, but it is assumed, and you
have noone to blame, perhaps only the destiny or on the gods of the beginnings.
What can you see: gestures, there where they apparently are not, action where
the character is frozen in stillness, not sketching any gesture .
Silently,
straight, sometimes frightening,
with the hands clenched on the stick; what else can you see, the Submitted
tension between the deep creases cheek - pattern, in an attempt of the divine
to become - to be - human, there where it rounds in an almost gray haloo,
at some point from countless moments of the 24 hours, the down...
The atmosphere is cold, celestian, pure, detaching from the viewer sometimes
violentlly, although he feels it there - it draws him into the image to fill
its own image... The viewer, prisoner of the provisional daily life and artistic,
in another image of the invisible world, but researched over time by many
generations of artists: the light, the shadow of the model,
the limits of the painted image.
Although he doesn't make it for very first time, his flowers beeing already
famous, this time Kloska has a different starting point, namely, he aims to...
, and even promotes,
in a series of creations, the flowers, rather a certain way, an interesting
manner to reinvent the flowers. The primordial flowers, rendered with maximum
intensity, almost monochrome... apparently monochrome.
Flower - a diferent kind of angel, reduced to the simplest expression : an
elastic rod in the top of witch is found the receptacle, well equipped, swollen
with seeds of a frightening complexity, not easy to understand because of this.
Lines, angles, an ascending dynamic, by animal nature, a vivacity, a ferocity
that makes you think, to Kloska an admirable plastic success, almost unique
if we think to the engine that hold the brush in trance,
the flower that makes a pair with the angel almost reflected in the mirror,
in the same non-color monochrome.
What I can say finally? As usual, almost another Kloska,
although the themes are the same, but what wealth of metaphysical nuances,
what spiritual charge, how much research
and the desire to penetrate beyond that is increasing between frame boundaries,
getting used to replace the human ordinary landscape, lost from now on...
Effervescent colors in a palette passing in unusual gradients on the canvas.
A creative restless,that revs within his imagination."
Janine Vladislav - Art Collector
november 2010
Ingerii lui Kloska
In pictura lui Kloska din ultimii ani domina,
desi multi n-ar fi observat, simplitatea si
smerenia: simplitatea prin care arta, care
face tot, cu nimic nu se dezvaluie mai mult
decat doreste artistul;
pentru ca Ovidiu Kloska si doreste, si nu !
Privind atent, am observat o singura actiune principala in lucrari, specific
unui bun desenator, caruia i se alatura, intr-o intima conlucrare, coloristul.
Totul este aparent simplu, frumos, o
frumusete profunda, spirituala, o frumusete care spune o poveste, povestea
pe care crezi Tu ca o spune; totul este firesc, inspirat, intarind in mine
ideea de ... libertate creatoare.
Dar cum s-ar impaca ideea de frumusete cu obrajii descarnati ai ingerilor,
deposedati de materie, numai spirit adancind colturile gurii privirea absorbita
in insasi materia ingerului dublata
de extraordinara mobilitate spirituala. Totul intr-o lumina care se suprapune
fundalului din care rasar franturi de viata asa cum ingerul o simte in noi
si o lume dezolanta, o lume debusolata,
strivita sub pecetea unui destin angoasat, dar care,paradoxal, mai lasa loc
pentru speranta.
Miscarea - in nemaiscarea ei - este imbibata de o stranie lentoare, in aproape
irezistibila inclinare a capului divin, al intoarcerii peste umar deschizand
haul nemarginit al orbitelor...
Si aici nu pot sa nu remarc o restransa gama de tonuri, apoi albastrul, albastrul
acela straniu ... linie apasata, forme alungite peste masura fireasca, bratele
care curg ca apa.
Ingerul, aproape in marime naturala, invadeaza spatiul privitorului, atat cat
sa transmita mesajul, un fel de oracol, sau un raspuns dublat in oglinda, oglinda
gandului pervers, desigur.
Ce va alege privitorul ramane de vazut, dar e asumat, nu ai pe cine da vina,
poate doar pe destin sau pe zeii inceputurilor.
Ce poti vedea: gesturi, acolo unde aparent nu sunt, actiune acolo unde personajul
este incremenit in nemiscare, mai mult nici nu va schita vreoun gest. Mut,
drept, inspaimantator uneori,
cu mainile inclestate pe toiag; ce mai poti vedea, incordarea inscrisa intre
cutele adanci ale obrazului sablon, in incercarea divinului de a deveni - de
a fi - uman, acolo unde se rotunjeste
intr-un haloo aproape gri, intr-un anume moment din nenumaratele momente ale
celor 24 de ore, inserarea...
Atmosfera este rece, celesta, pura, detasandu-se de privitor uneori cu violenta,
desi il simte acolo - il atrage in imagine pentru a-si indestula imaginea...
Privitorul, prizonier al provizoratului
cotidian si artistic, intr-o alta imagine a lumii nevazute, dar cercetata de-a
lungul timpului de nenumarate generatii de artisti: lumina, umbra modelajului,
limitele imaginii pictate.
Desi nu o face intaia ora, florile lui fiind deja celebre, de asta data are
un alt punct de pornire si anume, isi propune sa ... , si chiar promoveaza,
intr-o serie de tablouri, florile, mai bine zis o anume
maniera, interesanta maniera de a reinventa florile. Florile primordiale, redate
cu o intensitate maxima, aproape monocrome... aparent monocrome.
Floarea - un altfel de inger, redusa la cea ma i simpla expresie: o tija elastica
in varful careia troneaza receptaculul, bine dotat, balonat de seminte de o
complexitate infricosatoare, din
aceasta cauza nu la indemana oricui. Linii, unghiuri, o dinamica ascendenta,
de natura animala, o vivacitate, o ferocitate care te pune pe ganduri, la Kloska
o admirabila reusita plastica, aproape
inedita daca ne gandim la motorul care a tinut pensula in transa, floarea care
face pereche ingerului parca rasfrant in oglinde, in aceeasi monocrom non-culoare.
Ce as mai putea spune in final? Ca de fiecare data, aproape un alt Kloska,
desi motivele abordate sunt aceleasi, dar ce bogatie de nuante metafizice,
ce incarcatura spirituale, cata cercetare
si dorinta de a patrunde dincolo de ceea ce creste intre limitele ramei , ajungand
sa inlocuiasca peisajul lumesc obisnuit, pierdut de acum inainte... Culori
intr-o paleta efervescenta tracand
in degradeuri insolite pe panza. O neliniste creatoare, care-i tureaza la maxim
imaginatia.
Janine Vladislav - Colectionar de Arta
noiembrie
2010
"Kloska,
seeking the road to Damascus
Certainly, the art signed by Kloska is taking part into the creators
major effort to detect and express the essences of human beings,
just as it shaped by the all times. Fallen into the subject of
the temporal, in a sub-solar space, the humanity find itself forced
to twist its spirit, almost mutilate it, referencing to the crossed
historical and moral times.
The perpetual metamorphosis of the spirit produced visible traces,
often even into the meat surface, at the human figure, where the artist
Kloska searched and seacking to capture, through specific tools or
effort, almost demiurge, kneading whole inner man, subconsciously placed
beyond .
Whether artistic expression occurs in stone, metal or on canvas, she
plays, possibly, a certain portion of the mystery that lies in nuce,
in the most hidden place of human beings, where the spirit - today
as a mustard bean detached from the universal primary fire - is still
flashing and keep alive the being state of human nature, spoiled by
the original divine gesture of unique genesis.
Undoubtedly, the human universe is as exciting to explore as the outside
world as human beings, taking, however, urging the ancient Elders,
who left at some point the investigation of the macrocosm in favor
of the research of the microcosm typical to human being, so Kloska
is taking this route of the ancients over the light of modern art,
showing, following the impression that he left to us, as he is founding
himself in a deep search of that THING of which many others turned
to long time ago before him, respectively the Absolute detection.
Artistic methods means no comment, they completely belong to the author,
who seems to be stuck in a sustainable areas, by the very matter in
which his artistic approach consists in stone,and also in metal. So
is also added, the dimarch on canvas witch is transposing the same
stihial trend, detected in the works that had as the base the stone,
as it is finded molded by Other hands, namely of the Creator himself.
The acquisition of divine design and the self try to remake a route
to the being roots of the humanity - when, she was still finding in
her lighter period - is representing a titanic effort for every artist;
so, that's why Kloska himself, taking part at the same investigation,
he is working a lot, reminding us of the sisific effort of the mythical
character, the same of witch we should imagine happy, especially in
the time that he was coming down from the top of the mountain to the
base of it, for reassuming the eternally effort.
The throes caught by the artist , on the faces fixed in stone, metal
or on the canvas, are showing us the exact last stage of the human
existence before the Apocalypse, the event announced not only by the
Bible but also by many other great book of humanity, in different times
and particular moments; placing us in a spiritual level, where is proper
to insist on the idea of the extinction of the actual human kind -
the extinction announced also by the Kloska's artworks - in the sens
that is not about a biological disparition, on contrary, pointing to
a radical metamorphisms of the world, at a specific moment, so as to
have the possibility to reborn again complete, rounded,perfect, as
at the beginnings, when it was saying, that it was traversing an absolute
age, perfect in all respects, unaltered by further progress subject
to time devorated consuming.
Hope that will come a time when mankind will radically transform itself,
is rendered by the Angels's world that crossing the creations of Ovidiu
Kloska, a sensed world, based on the true believe of a superior existence
to which human beings can tend to their path to Eternity.
Kloska is an young artist, noted already in the so demanding world
of the artists. He is continuing to seek the road to Damascus, but
on witch we are confident, that one day, he will have the happiness
to know it."
Prof.dr.Fl.Agafitei
- writter, indianistic expert
Kloska, în cautarea
drumului Damascului
Cu certitudine, arta lui Kloska se înscrie în efortul major
al creatorilor de a detecta si exprima esentele fiintei umane, asa cum
a fost ea modelata de vremuri. Cazuta sub incidenta temporalului, într-un
spatiu sub-solar, umanitatea s-a vazut nevoita sa-si contorsioneze spiritul,
aproape sa si-l mutileze, prin raportare la timpurile istorice, morale
traversate.
Metamorfozarea perpetua a spiritului a produs urme vizibile, adeseori
chiar si la suprafata carnii, a figurii umane, acolo unde artistul Kloska
a cautat si cauta sa surprinda, prin uneltele specifice efortului sau,
aproape demiurgic, întreaga framântare launtrica a omului,
plasata dincolo de subconstient.
Fie ca exprimarea artistului se produce în piatra, metal, fie pe
pânza, ea reda, pe cât posibil, o anumita parte a misterului
ce zace in nuce, în cel mai ascuns loc al fiintei umane, acolo
unde spiritul - prezent ca o boaba de mustar desprinsa din focul universal,
primordial - continua sa pâlpâie si sa mentina vie starea
fiintiala a naturii umane, alintata de divinitate prin gestul initial
al genezei unice.
Neîndoios, universul uman este la fel de incitant în a fi
explorat ca si universul exterior fiintei umane; preluând, însa, îndemnurile înteleptilor
antici, care au parasit la un moment dat cercetarea macrocosmosului în
favoarea investigarii microcosmosului caracteristic fiintei umane, Kloska
reia parcursul anticilor prin prisma artei moderne, aratând, asa
cum ne-a creat noua, cel putin, impresia, ca se gaseste în plina
cautare, în aflare a celui spre care s-au îndreptat multi
altii înaintea sa, respectiv în detectarea Absolutului.
Mijloacele artistice nu le comentam; el apartin cu desavârsire
autorului, care pare sa se fi cantonat în areale durabile, prin însasi
materia din care-si compune demersul artistic: piatra, în special,
dar si metal. Se adauga, demersul pe pânza ce transpune aceeasi
tendinta stihiala, detectata în operele ce au la baza piatra, asa
cum se regaseste aceasta modelata de alte mâini, anume ale Demiurgului însusi.
Preluarea modelului divin si încercarea proprie de refacere a unui
drum catre radacinile fiintiale ale omenirii - pe când aceasta, înca
se gasea în etapa luminoasa a ei - reprezinta un efort colosal
pentru orice artist; tocmai de aceea si Kloska însusi, angrenat în
acelasi demers, munceste foarte mult, amintind de efortul sisific al
personajului mitic, acelasi pe care ar trebui sa ni-l imaginam fericit,
mai ales atunci când coboara din vârful muntelui spre poalele
sale, pentru a-si relua travaliul etern.
Chinurile surprinse de artist, pe figurile redate în piatra, metal
sau pânza, arata exact etapa ultima a existentei omenirii înainte
de Apocalipsa, eveniment anuntat nu numai de Biblie dar si de alte carti
mari ale lumii, în evi diferiti si momente aparte; situându-ne în
plan spiritual, este bine sa nuantam asupra ideii de extinctie a omenirii
actuale - extinctie anuntata si prin lucrarile lui Kloska - în
sensul ca nu este vorba despre disparitia biologica, ci despre metamorfozarea
radicala lumii, la un moment dat, astfel încât sa aiba posibilitatea
de a renaste împlinita si rotunda, desavârsita, ca la începuturi,
pe când se spunea, ca traversa un ev absolut, impecabil din toate
punctele de vedere, nealterat de ulterioara derulare sub incidenta devoratoare
a timpului.
Speranta ca va veni momentul când omenirea se va transforma radical,
e redata prin lumea îngerilor ce strabate creatiile lui Kloska,
o lume intuita, bazata pe certa credinta a unei existente superioare
spre care poate tinde fiintarea umana în traiectul ei catre Eternitate.
Kloska este un artist tânar, remarcat deja în lumea atât
de pretentioasa a artistilor plastici, care continua sa-si caute drumul
Damascului, dar pe care suntem siguri, ca într-o buna zi, va avea
fericirea sa-l afle.
Prof.dr.Fl.Agafitei
"I
cannot imagine how one can possibly see behind
this work how much time and effort it took
for me to develop this unique space that
defines me now. I have discovered angels
when I almost got drowned three times the
same summer and I pray every time at dawn
for God to exist. I have discovered real
art in Iasi galleries an in the art albums
from the second-hand book seller on Lapusneanu
street. I have started then sleeping on pillows
smelling like linen, with canvas on the walls
and under the bed.
I
have never eaten paints, though in the first
grades I drunk the water for the aquarelle.
And here I am, young, continuously wandering
and dedicated, sending invitations to an
imaginary park for preserving the soul. Most
of the plastic themes used, the symbols and
shapes included in my work, are taken out
from a reality spoiled by time, and then
they are reshaped in a special way in my
opinion. The most important theme is the
wall.
Constantly
fascinated, this dynamism of shape opens
up in a unique way, by projecting a sway
of mind, a mind performance with neurological
circuits. This is my “magic eye”.I
believe that by uniqueness begins with the
very capacity of inventing universe out of
things shattered by time, things that have
changed into ephemerity. There are hours
that I spend staring at the mud, at the wrinkles
of the trees, at the rust of walls damaged
by time. It is an exercise that everybody
should make. It means worming the spirit,
getting in touch with the sublime. I am connected
to silence and endless time during the short
chat between things. Sublime. Esoteric. … And
the night… that cold, fascinating light
that makes things change their meaning, driven
by an inner tremble that is known from a
previous moment, fluttering through images.
My
visual relates with dreams, unconsciousness,
delirium, hallucination, with the change
of shape and light, with the spontaneous,
illusion, abnormal and normal, bizarre and
wear.
My
name is KLOSKA and I will be you host during
your visit to the park of preserving the
soul.
FREE
ENTRANCE! "
"Kloska
has an important advantage on his side, which,
analyzed from a distant point, would look
like his opposite nature: he is an engineer.
So he is enabled to imagine painting with
a certain freedom given by the fact that
there are no prior analysis or any long reading
on the subject. And at that point, at least
in the beginning, you think and you know
for sure that you can inexhaustibly do almost
everything. In this very moment a certain
censure intercedes, a certain natural dowry,
which I am sure that Mr. Kloska owns and
which keeps him within the decency bounds.
In the same time it makes him bold enough
in order to adopt such theme as the Angel.
Presently, The Angel is the generous theme
in art, I can say that there is an invasion
of angels, not only in painting, but also
in literature and a couple of other fields
too. It is a big interest of the modern man,
it finds its fulfillment in different forms
and that is a very good sign.
Angels
are messengers to Koska, as he so beautifully
states. It is true, but the way Mr. Kolska
is seeing the angels is a special one: his
angel is gentle. I cannot see any of his
angels like the one that Jacob is trying
to hold by his cloth, I cannot imagine Rilke
bagging for his forgiveness, because, as
we know, his angels can be vindictive. I
can only see him as the right angel, the
one telling us that we are kind and beautiful
and young and so on. I thing that the artist
is keeping for himself the left angel. There
is a desire that I distinguish, which might
be a good one, that of imagining the angel
loosing his sacred nature – in the
good way of speaking. It is clear to all
of us that his image has its origin in the
rigor and the canon of the religious picture.
It is more like that presence that we like
to see next to us, who guides our mind and
spirit towards that place where angels truly
live. This is his way of doing a good, beautiful
deed, in a way that suits him, and which
he considers reachable and expandable."
Ana-Maria Hartuchi , Art Critic
" Through
the galleries
THE SUMMIT OF THE ANGELS …
Ovidiu
Kloska, a technician, does not allow his
profession to come out to light. His presence
is perfectly shaped and he is open to substantial
and unconventional dialogue. He is a painter
and a poet in the same time. From another
point of view, the rationalism implied by
engineering can be found only when navigating
the internet and signing his e mails with
the exciting formula I AM KLOSKA.
On
the rest, we are dealing with a free spirit,
open towards the sky of fantasy, where the
presence of gladiator angels reign over lucid
insomnia and the turn into unusual paintings.
The exercise and the performance in modern
techniques of advertising design brought
him reputation and all this turned into the
promoter of painting. Actually, a poet disguised
as a painter, Ovidiu KLOSKA wants to propose
to modern man another way of imaging, in
a way that common elements of traditional
painting cannot find their place anymore.
He
does not reject the classics, but he does
not worship them with endless devotion either.
He feels, in everything, just like a free
man. His personal touch on every image comes
from all this and it focuses almost entirely
only on a specific abstract concept. His
show in Focsani looked like the perfection
of initiation in angiology, the presence
of the angels and their lives aiming to ineffable,
to mentally estranging from gravity. This
is where the idea of the angel comes from,
from a theological and artistic point of
view. He is not interested in pointless endless
discussions about the genre of angels, just
like the previous ones, but only in the population
of angels that live in the interval.
The
interval is actually the space between God
inside us and God outside us. Our guardian
angel turns into the dominant element of
the painting, in different situations. Kloska’s
gloses on the subject are original and they
lead to insomnia. Mostly that of the spirit
called out from agreed upon conventions to
propose another manner of negotiation with
the sacred and the eternal. Animated spirit
by insoluble questions, he goes deep with
every piece on the lands of illusions. He
does not give any sentences, he just invite
us for journeys into the volatile zones of
fiction and mister. Kloska never starts to
forget from where he start and he doesn't
brake himself to affirm that he's sometimes
cross by the seductions of the delirium.
He is speaking with angels. In a composition
with an aspect of baroque unplaite of very
well articulated luxuriant lines, he is calling
the memory to imagine a possible dialog with
the Guardian Angel. The questions sounds
real, the answers are equivocal. The tension
of the image associates vulnerable armour
and cherub diaphans in a spectacle where
the trumpets are sound spelling a possible
apocalypse. The chromatics is forcing itself
with precious Rembrandtian associations but
also with loudly grays metallic articulated.
In "the first photo session of a guardian
angel" the heavy armors are becoming
possible burden, fragile carcases where ,
in fact, the faith is living . Other times,
the spectrum of impenetrable nights presumes
grave coloring association. even funeral
in bacovian key while the orgiastic feast
of joining is having the devataiting air
of heresy. The proportion between the dark
colors and the cluster of gold yellow glitters
that is inundating the sky of compositions
is bringing to attention the cosmic couple
of light and dark. The gushing fantasy, the
nocturnal reverberations of the poetry, as
the painter said, amplifies the sonority
of chromatics and multiplies the dramatic
development
of the forms in the graphic space. Not by fortuitous chance, Ovidiu Kloska
is hearing the music of spheres and is seeing angels.
The
translation between real and imaginary, between
the form and the gesture desinhibated from
the compulsion of the authority of tradition,
is making the painter to reinvent the space
from the perspective of a time animated only
by the wing flapping of angel fall into sin.
Substantial
plastic comments on such a theme proves the
configuration of a vision, a implementation
of a stylistic. So, adding ourselves to his
tireless introspective
thought, but also to his poetic visionary utterance, I think we are really
dealing with a real true creator. There, we can say, is a spirit witch is watching
over our bourgeois reconciliation with ourselves ... " / Valentin Ciuca,
Art Critic
