
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, july - group Exhibition - " Moldavian
Salons " - Galeries and Institutions
from Bacau, Bucuresti, Chisinau;
- 2009, november - personal exhibition "Memory
mark" - paintings, graphics, instalation,
photography - Art Galleries Focsani,
Romania.
- 2011, september - Personal Exhibition - " Flowers for Kafka" - Calderon Club, Bucuresti;
- 2015, april,may - Personal Exhibition Painting- " Alone to the invisible touch" - paintings -" Nicolae Mantu " Art Galleries Galati,
Romania. |
Review from "ALONE TO THE INVISIBLE TOUCH " Exhibition April 2015
"KLOSKA OVIDIU OR THE DYNAMICS OF THE IMAGE
When approaching Ovidiu Kloska’s works, our attention focuses on certain elements. The first would be a tireless desire to experiment techniques, bolding plastic ways approaches: installations, graphics, paintings, mixed techniques. “The Wear of the City” is an interesting series; an attempt to use common places, as the artist says, so that by transfiguring them, to reveal the artistic connotations of the urban space and his facets regarding the way of perceiving life beyond the immediate reality. Ovidiu Kloska’s creation expresses a restless, but avid spirit that wishes to encompass the best of the visible and invisible material world. Taking into consideration Art History, we can behold, to some extent, what animates the artist towards a Romantic vision or maybe towards a Neo-romantic one which, of course, includes all postmodernist data. His art asserts freedom and his somehow exacerbated desire to express his individuality; but it is even more than that. It is the anguish to include the intangible and to imbed metaphysical meanings within the artistic object. In fact, the term “to imbed” is very inappropriate when discussing Ovidiu Kloska’s artistic approach. The images he creates, frequently human images, present a constant fluidity, a non-finite that we encounter in Turner’s paintings or in the informal of the abstract painting, although the atmosphere they liberate is different. As even the artist sometimes expresses it in the captions or in the titles given to his works or in the series, the oneiric is an always-present dimension in his visual approach. The dynamism of the form or shape captured in a constant metamorphosis is a change that captivates the viewer and impregnates him with those anxieties that dominate the artist. Maybe “anguish” is not the most appropriate term, since I do not perceive any depressive effect within the universe created by Ovidiu Kloska. There is the unrest that comes with space crossing: cosmic and material spaces, spaces of knowledge. This element really exists: a rush to reach spiritual essences, primary responses. No, answers do not appear to be the subject of his works, but the itinerary towards them, the whole process, along with its internal dynamism. How does he perform it visually? I think that the solutions he offers – the present time solutions, because he does not seem to be an artist who settles for a formula, without exploring beyond it – are quite different, but stylistically unified. First, there is the diversity of materials and, second, the valorizing of plastics. What we have before us, the informal, the abstract-figurative game, the sensing of the decomposing or transforming matter, the halos surrounding the figures, the light and shadow alternation, represent a real exploration of the matter, of the pictorial matter, an affirmation of the material world. However, paradoxically, through the manner in which it is treated, it receives a spiritual dimension, this continuous sliding between the material and the spiritual being the internal dynamic of the image that captivates us. The quick brushing, the gestuality that builds and deconstructs the form, the pictorial vibration of the paste and the contained light or shadow – everything moves vivaciously, soliciting and integrating the viewer in the artistic process that seems to take place in his presence. The artist binds human silhouettes, figures, which he seems to challenge. He binds them in a constantly budding and mysterious universe. It is a creation accomplished under imminent revelations whose approach, captured by the artist, is communicated to us in often surprising images."
Art critic Mariana Tomozei Cocoș
"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
|
"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 |
"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 |
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