Mostra, Romania, Cluj-Napoca, 31 March 2011
Competenze: Spazio Espositivo
Metal, glass, rope, nails and color are all elements found on the wooden backgrounds.
The inquisitive travels began 15 years ago, when Calina played with the pen and ink, tracing
what will be some of the first figurative representations.
The artist returns home on the road of creative pursuit. She returns to her point of origin. A very interesting parallel exists between Calina’s early ink works and the sculptures displayed by ZMart Gallery.
In the preceding works, the artist opts for expressive purging, using austere linear caligraphy.
In this way, she reduces the registry to lapidary, laconic representations, which show figures
restrained by a net of straps. These supress movement and evoke solitude, captivity and return. The characters live through what they embrace within, or perhaps it is a matter of revealing
the shell’s interior. The human figures are rudimentarily drawn, the archaic style granting visibility to the symbols.
It is interesting to discover that the artist’s style evolved without losing continuity. On the current pieces we find the same stylized figures with hieratical silhouettes, which authenticate themselves in an ongoing process of self-discovery.
Within the lines of postmodernism, Calina attacks with courage the tri-dimensional wooden surface, which comes to life under the chisel and hammer, bearing form. Shapes are reborn. Scratched surfaces trace contours. Accents, represented through the most simple artistic element – the dot (the nail) – draw lines and directions.
The artist uses a mixed technique. She combines, with a mathematical precision, unconventional materials, nails, metal, rope and glass, all mounted on a wooden support.
Clear mythological landmarks are noted, such as the return to the labyrinth, the birds, the black sun. The subjects recur as the obsessive search for self-knowledge continues.
In her latest works, the artist assumes and respects her individual golgotha, aiming towards the essence of conception, using inexhaustible resources, forever refreshed. “The moment in which the first rebellious thoughts against said condition develop,” the artist comments on the incipient wing.
In this series, Calina Hiriza studies both the personal and collective nature of human emotions, which identify us, and allow us to identify with others.
— Anemona M. Frate, PhD
The inquisitive travels began 15 years ago, when Calina played with the pen and ink, tracing
what will be some of the first figurative representations.
The artist returns home on the road of creative pursuit. She returns to her point of origin. A very interesting parallel exists between Calina’s early ink works and the sculptures displayed by ZMart Gallery.
In the preceding works, the artist opts for expressive purging, using austere linear caligraphy.
In this way, she reduces the registry to lapidary, laconic representations, which show figures
restrained by a net of straps. These supress movement and evoke solitude, captivity and return. The characters live through what they embrace within, or perhaps it is a matter of revealing
the shell’s interior. The human figures are rudimentarily drawn, the archaic style granting visibility to the symbols.
It is interesting to discover that the artist’s style evolved without losing continuity. On the current pieces we find the same stylized figures with hieratical silhouettes, which authenticate themselves in an ongoing process of self-discovery.
Within the lines of postmodernism, Calina attacks with courage the tri-dimensional wooden surface, which comes to life under the chisel and hammer, bearing form. Shapes are reborn. Scratched surfaces trace contours. Accents, represented through the most simple artistic element – the dot (the nail) – draw lines and directions.
The artist uses a mixed technique. She combines, with a mathematical precision, unconventional materials, nails, metal, rope and glass, all mounted on a wooden support.
Clear mythological landmarks are noted, such as the return to the labyrinth, the birds, the black sun. The subjects recur as the obsessive search for self-knowledge continues.
In her latest works, the artist assumes and respects her individual golgotha, aiming towards the essence of conception, using inexhaustible resources, forever refreshed. “The moment in which the first rebellious thoughts against said condition develop,” the artist comments on the incipient wing.
In this series, Calina Hiriza studies both the personal and collective nature of human emotions, which identify us, and allow us to identify with others.
— Anemona M. Frate, PhD
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