The Mnemotechnic condensations of experience
Calin Beloescu belongs to that type of artists, for whom lucidity cooperates with the intensity of perceptive and emotional experience, with the unclear, deforming, selective and synthetic filter of the memory. There is always a process of contamination, juxtaposition, semantic transformation and substitution between the illusions furnished by a personal storage of re-considerable impressions and dreamlike products, visual remains of the real peripluses all over the world (from the context of childhood to the matrix sceneries of South-East Europe) and the suggestions and impulses deriving from another stream (open to combinatory usage and fragmentation) of cultural experience.
The collage, this old procedure regarding the reductionist approach of the world, allows a juxtaposition, which is never incidental, of signs and iconic cuttings, whose connection is given by the maneuvers of connotations and the allusive strategies involving the whole scale of possibilities offered by the traditional and current technological genres. I defined the collage an old manner since without it the memory could no longer operate as it conducts any authentic act of artistic approach, from the usage, developed in long durations, of the same space destined to the same type of signs, like in the Paleolithic mural works, to the mixture of temporal plans, of the allegories concerning the museum’s principles of formation, the imagistic competitiveness of the urban publicity, to the approach operated by the postmodern artists when dealing with the famous works of the past/present and the courageous cutting of the electronic discourse.
The collage, a technique determined in the creation of Calin Beloescu, governs not only the imagistic deposit, cut and re-assembled according to the pressure of signification and poetical strategies, but also the neighboring or opposite genres/contexts, formulating the message of the alert and nostalgic subjectivity.
The several themes analyzed in some open cycles such as the cycle of landscapes or the heterogeneous works, connect the levels of a receptive interiority, but this is structured by a coherent accumulative perspective, determined by the attitude towards a reality whose complexity includes the diversity but does not permit the dislocation of the unit’s meaning. The landscapes are constructed from juxtapositions of topic identities belonging to some distanced times and geographies, where, respecting the artistic modern sobriety, one insinuates a well-known symbolic sign – such as the train engine, adherent on the symbolism of the imminent change, of the circulation between the worlds or the initiatic or funerary voyage -, and the compositions generated by the portrait with a personal biography, gaining a new signification because of its relationship with signs endowed with cultural authority – the wing, as an emblem of the angelic, the statue, with its temporal, static and apology signification, engage the personal memories, with their univocal and partially subjective value, in the dense territory of the metaphysics, in the dynamics of tropism towards the cultural generality.
We cope with a discourse turned towards a self, which is eager of experience, one preoccupied with the emotional authenticity of the relationships with the levels of reality and sustained by the rhetorical instruments, an aesthetic dimension of the language. Yet this free movement on the levels of memory also allows an absorption in the limitless present, in the generic contemporaneity of the work of art, of all the temporal stages concentrated on the farthest past – the epoch of Rubens – or the recent one – the journeys to Greece, the houses or characters.
He practices this liberty, which conducts the hybrid usage of the contexts, combined to permit the presence of reality both in the nucleus, generator of images, and during its construction, in his stylistic formulations too.
Calin Beloescu adopts either a formal sobriety and a late modernist brevity, with the maneuver of some ample forms, organizing the space, in a plain development, whose economy invokes the metaphysics, or the baroque agglutination of clues, but never without the artistic or significant motivation of the compositions which have complex cultural references.
photography, the digital intervention, the pictorial intervention or
the print are important not because of their final effects, but because
of the integration of indirect reality, of the mediation of memory and
cultural filters. Moreover, the images open the access towards a new
reading, which is never definitive, never stabilized and
Translation into English Rita Tasi