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