FROM "KAFKIAN ETERNITY WITH FLOWERS AT 7 PM " series - COMPOSITION SIGNED 23 of February 2016
spontaneous ink drawing on hard paper
drawing size: 21 x 30 cm
signed February 2016
will be sent with authenticity certificate
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This series of artworks refers to the metaphysical approach to space populated by a pot with flowers, a near seen like a section of a personal
temporal eternity, where the vegetative elements are transfigured into the metaphysical, transcendent .Thus, at the limit figuration, the immanents of the light becames oniric reflections and transparents, the flower shape became sphere, within which persist the traces of the pass, of the wear, the cyclicity. The series title, although apparently suggestive, is not refering to the absurdity and anguish prosaic present in Kafka's universe, but rather its starts from the idea of freezing of the personal physical time, by a simple meditative exercise of pure contemplation of the close realities transformed by the passing of time.
For me, as an artist, the still life is a perfect excuse to create a vibrant game between the idea of the volatility and the perennial of the world
that we perceive around us, and the essence of the human spirit: the conscience.
My "flowers" are subtle expressions of a meta-reality, where the viewer is invited to meditation, to exercise his spirit, to discover that energy, that forsure we all have it inside us, that resonates with the silence of the begining of begining.
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
spontane ink drawing on hard paper