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acrylic on stretched canvas - 31 Inches x 24 Inches
VERY CLOSE TO A MEMORY NEST SUPERBE FANTASTASTIC DREAMSCAPE BY ROMANIAN MASTER PAINTER OVIDIU KLOSKA;ONLY JULY PROMOTION: BUY 2 PAINTINGS AROUND THE SAME SIZE AND THE THIRD WILL BE FREE. THE THIRD MUST HAVE CLOSE OR LOWER DIMENSIONS WITH PREVIOUS 2 ONES. THANKS, KLOSKA;Title: from the series " BEYOND THE INSIDE series " - VERY CLOSE TO A MEMORY NEST signed 11 JUNE 2015;Tehnique: acrylic on canvas stretched over wooden chassis \edges are pinted so is ready to hang;Size: 60 x 80 cm ;signed JUNE 2015;Last review from the personal paintings exhibition "Alone, to the invisible touch", April - May 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

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