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The Light in the Artistic Work of Cristian Diţoiu

No. 34 / August 2020

Mihai Plămădeală, art critic – article published in the exhibition catalogue, Ed. Centrul Cultural Palatele Brancovenesti, 2015

 

The association and dissociation of craft with art is a common place in the history of culture and civilization. Far from establishing consensus, the possible answers to this theme of meditation lead to even greater misunderstandings, consisting of questions about beauty, value, recognition, conjuncture, in fact the need for clear delimitation of terms, possible common areas and especially borders between them.

If we agree that the true artist is not only an inventor or reproducer of shapes and images, be they passed through a personal filter, nor demiurge or priest of the visual, we can admit that through his creative activity, he proposes, before any meaning, a way of looking, generally speaking. The acceptance or rejection of the visual offer stated by the author depends on the one hand on the artistic will, equivalent to a certain extent with the coherence of the supporting argument, on the other hand on the receiver himself, his culture and availability. The idea that an important collection of modern and contemporary artworks seem to be made by kindergarten children is universally spread all over the world. Not a few people sincerely and disinterestedly believe that if they wanted to, they could also do a lot of the artworks exposed in museums. However, the social mechanisms of self-regulation allow art to continue to exist and develop. The interface plays a role independent of the intrinsic attributes of the artifacts in the journey of learning.

 

Cristian Dițoiu (1)

 

Cristian Diţoiu’s new exhibition can be defined rather by what it is not, than by what each commentator, even relatively informed, assumes to be. At a purely descriptive level, we are dealing with colored squares, arranged on various backgrounds, in turn, rectangular in shape. The golden ratio, constant in the artist’s algorithm, a morphological system that is both non-random and post-minimalist, is not a real stake of the works, as are the chromatic values ​​and the tonal relations between them. As an intellectual game, placing Cristian Diţoiu on an imaginary stylistic axis would certainly divide the segment between Suprematism and De Stijl in average and extreme ration, according to Euclidean logic.

 

Cristian Dițoiu (2)

 

Depending on the horizon of expectation, some of the viewers will invariably think of Malevici and Mondrian, another of the color with which they should paint the bedroom or the artwork that matches best with the sofa already existing in the living room, while some will look among the depths of the palette, the supposed mandala, if not the fractal theory.

 

Cristian Dițoiu (3)

 

The Op Art component in the creation of the Romanian painter can also be brought into discussion, with the mention that the effects of movement in the eyes of the onlooker take place in slow motion. We note the total removal of the concrete in favor of geometry. Beyond the decorative dimension, its chromatic areas sum up, beyond the geometry of their arrangement on the canvas, the whole spiritual potential of the creative act behind the legible. Acuity, as an expression of the sensible world, finds a connection and at the same time an extension with the intelligible world. A minimum of means from which any forms of aggression or spectacle are eluded.

 

Cristian Dițoiu (4)

 

The squares and rectangles in question do not float on top of each other, but are fully integrated in the same plane, to the point where the physical size of the chassis becomes part of the work. Thought in relation to receiving light, they do nothing but reveal themselves and, implicitly, retransmit it, as an aesthetic message. Cristian Diţoiu’s compositions represent a way of looking at and understanding the world.

 

Mihai Plămădeală & Cristian Dițoiu

 

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