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  HIDALGO ART GALLERY APRIL - MAI 2007 Exhibition


Hidalgo Art Gallery 2007 Mai Exhibition Videos

 

 

Hidalgo Art Gallery 2007 Mai Exhibition Critics

 

 

 

exhibition catalog

exhibition invitation

 


" 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 mistery. 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

 

PRIN GALERII…

Valentin Ciuca

SUMMIT-UL ÎNGERILOR…


Prezenta bine conturata intelectual, dispus la dialoguri substantiale si neconventionale, pictor si poet totodata,
Ovidiu Kloska nu lasa sa se întrevada formatia sa profesionala de politehnist sadea. Altfel spus, rationalismul
presupus de tainele ingineriei se mai poate regasi doar în aplicatia cu care navigheaza pe internet unde comunica
î n limbaj post-modern si-si semneaza epistolele virtuale cu incitanta formula sunt kloska. În rest, avem a face cu
un spirit liber, deschis catre orizonturile fanteziei unde prezenta îngerilor gladiatori gestioneaza spatiile insomniilor
lucide si se metamorfozeaza în picturi insolite. Exersarea si performantele în tehnicile moderne ale designului
publicitar i-au adus o reputatie si au devenit antecamera picturii. În fapt, poet deghizat în pictor, Ovidiu Kloska
vrea sa propuna omului modern un alt tip de imagerie, unde locurile comune ale picturalitatii traditionale nu-si
mai gasesc locul. Nu respinge clasicii, dar nici nu-i sacralizeaza printr-o devotiune fara limite. Se simte, în toate,
un om liber. De aici, amprenta personala a fiecarei imagini care se concentreaza aproape exclusiv în jurul unui
concept abstract, nelinistitor prin mesajul multisemantic.
Expozitia lui de la Focsani a semanat cu perfectiunea unei initieri în angiologie, viata si petrecerea îngerilor tintind
starea de inefabil, de desprindere mentala din constrângatoarele chingi ale gravitatiei. De aici, ideea de înger,
privita din perspectiva teologica dar si artistica. Nu este interesat, ca cei vechi, de insolubile dispute privind sexul
î ngerilor, ci doar de populatia îngereasca ce locuieste în interval. Intervalul este, în fapt, spatiul dintre dumnezeul
din noi si cel din afara noastra. Îngerul nostru pazitor este, cu vaga ironie, numit Îngerul gardian si, în ipostaze
diferite, devine si dominanta ansamblului pictural. Glosele lui Kloska asupra temei sunt originale si determina
insomnii. În special ale spiritului chemat sa iasa din conventii prestabilite si sa propuna un alt tip de negociere
cu sacralitatea si neantul. Spirit animat de interogatii insolubile, el avanseaza cu fiecare opera pe teritoriile
iluzoriului. Nu da sentinte, ci face doar invitatii pentru calatorii în zonele eterate ale fictiunii si misterului.
Nu uita totusi, niciodata, de unde a plecat desi nu se sfieste sa afirme ca e traversat uneori de seductiile delirului.
Sta de vorba cu îngerii. Într-o compozitie cu aspect de despletire baroca a unor linii luxuriant articulate, face apel
la memorie spre a imagina un posibil dialog cu Îngerul Gardian. Întrebarile suna adevarat, raspunsurile sunt echivoce.
Tensiunea imaginii asociaza armuri vulnerabile si diafanitati de heruvimi într-un spectacol unde trâmbitele anunta
posibile apocalipse. Cromatismul se impune prin asocieri pretios rembrandtiene dar si prin sonore griuri metalic
articulate. În Prima sedinta foto a unui înger gardian armurile grele devin din posibile poveri, carcase fragile unde
salasluieste în fapt, credinta. Alteori, spectrul noptilor de nepatruns presupne asociatii coloristice grave, funebre
î n cheie bacoviana iar sarbatorile orgiastice ale împreunarii au aerul devastator al ereziei. Raporturile dintre culorile
î nchise si jerbele de scântei galbene ce inunda cerul compozitiilor aduce în atentie cuplul cosmic al luminii si
î ntunericului. Fantezia debordanta, reverberatiile nocturne ale poeziei, cum sustine pictorul, amplifica sonoritatea
cromatica si sporesc dramatica desfasurare a formelor în spatiul grafic. Nu întâmplator, Ovidiu Kloska aude muzica
sferelor si vede îngeri.
Oscilatia între real si imaginar, forma si gest desinhibat de constrângeri impuse de autoritatea traditiei, face ca
pictorul sa reinventeze spatiul din perspectiva unui timp animat doar de fâlfâirea unicei aripi a îngerului cazut în
pacat. Substantialele comentarii plastice pe o asemenea tema dovedesc configurarea unei viziuni, implementarea
unei stilistici. Adaugându-ne neistovitului sau gând introspectiv, dar si exprimarilor vizionar- poetice cred ca
avem a face cu un creator în toata puterea cuvântului. Iata, vom spune, un spirit care vegheaza asupra
burghezelor noastre împacari cu noi însine…

Last updated : Monday, 12/29/2008 10:43

 

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