Hajóorr a Vízözön Művészetéhez
Annak az európai hírnévnek köszönhetően, melynek most a román szobrászati iskola örvend, Mircea Roman nagy formai eredetiséggel bíró és mélységes drámaisággal rendelkező alkotó. A művész formálta elátkozott figurativ i tás legjellegzetesebb alakja a trapéz alakú paralelepipedon, mely a test hajlott és összehajtott síkjából származik. Immár három évtizede, hogy Roman vett egy fatámasz tékot, azaz egy deszkadarabot, és egy „konstruált-figuratív” szobrászati alkotás boltozatává tette, s e gesztusnak nagy generatív ereje van. A ragasztott, összecementezett lécek gúla alakú törzseket alkotnak, melyek fölött kétségbeesett gesztusként megfejthetetlen arcok tornyosulnak. A szob rász alakjai, akik karja legtöbbször amputálva van, olyan állványok, melyek a megerőszakolt emberi törékenységét hivatottak kifejezni. A figuratív, ferde tornyok, mellük úgy árad, akár a törés utolsó sóhaja, az elgyötört magány érzését árasztják. A nyakak és a bokák, melyek mindig hangsúlyosak Mircea Roman művészetében, az emberi és az eltárgyiasult közötti földnyelvet képviselik, a láda-tes tekben, a rémült arc és a talp között csordogáló hajszálerek. Mert az alkotó folyamat nagyon fantáziadús (minden alak lemezzel bevont és így kerek befejezettséget sugall), Roman alakjainak morzsalékossága, töredezettsége ezek révén a következetes csonkítások révén tragikumot közvetít. Aurelia Mocanu
Személy belso páncéllal, fa
Prore pentru Arca Potopului
Cu palmares european pe care se sprijină acum școala românească de sculptură, Mircea Roman este un creator de mare originalitate formală şi de un adânc dramatism. Volumul cel mai caracteristic al figurativului damnat propus de artist este paralelipipedul trapezoidal, provenit din planul înclinat şi pliat al torsului. De aproape trei decenii, Roman a investit o tălpică de lemn, adică un fragment de scândură, drept cheie de boltă a unei producţii sculpturale „construit-figurative”, de mare forță generatoare. Şipcile lipite, imbricat- zidite, ridică trun chiuri piramidale peste care, într-un gest disperat, se anină câte un chip impenetrabil. De obicei cu brațele amputate, personajele lui Roman sunt eșafodaje care transmit fragi litatea umanului agresat. Turnurile figurate, înclinate, înaintând cu bustul ca un ultim zvâcnet al frângerii emană sentimentul solitudinii torţionate. Gâtul şi gleznele, mereu privilegiate în figurativul lui Mircea Roman, sunt istmurile între uman şi reificat, conductele comunicante ce trec prin lăzile trup, între chip halucinat şi portretul tălpilor. Procesul de elaborare fiind unul ingenios (de placare com pactă, apt de finitudini circulare), fragmentarea, frângerile, retezările şi impostarea personajelor lui Roman este, prin aceaste consecvente amputări, transmițătoare de tragism. Aurelia Mocanu
Prow to the Art of Deluge
Due to the European fame that Romanian sculpting school has nowadays, Mircea Roman is widely considered an original and deeply dramatic creator. The most characteristic shape of this cursed figuration is the parallelepiped with the shape of a trapeze which originates from the bended and fold plane of the body. It’s been three decades now that Roman bought a wood sup port, a wooden board and made it into the dome of a ’construct ed-figurative’ sculpture and this gesture has a great generative power. The glued and cemented staves form pyramid-shaped bodies above which, as a gesture of desperation, there are some insoluble faces. The bodies of the sculptor, many of which have their arms amputated, are mounts intended to represent the violated human fragility. These figurative, bended towers, their breasts spilling as the last breath of breaking, radiate the haggard feeling of loneliness. Necks and ankles, always stressed in the art of Mircea Roman, represent the earthen language between the human and the objectified one, in box-like bodies, capillaries flowing between a frightened face and sole. The process of creation is an imaginative one (every body is coated with plates, thus suggesting rounded completeness), through these consistent mutilations, the graininess and fragmentation of the bodies of Roman mediate tragedy. Aurelia Mocanu Translated by: Előd Márton
Pieta, fa
Pieta, fa Pietta, tus
A díjazott, fa A díjazott, fa
Asszony a falnรกl, terrakotta
Asszony a falnรกl, terrakotta
Bölcs, fa Bölcs, fa
Deszka ember, bronz Deszka ember, fa, bronz
Piros cs谩k贸s ember, bronz, fa
Szoknya, fa Szoknya, fa
Hölgy, fa Hölgy, fa
Barokk keret melleknek, fa Asszony a falnål, terrakotta
Ember fehérben, fa, géz Ember fehérben, fa, géz
Mircea Roman
b. 1958, Romania, lives and works in Bucharest 1980-1984, BA Sculpture, the Fine Art Institute „Ion Andreescu”, Cluj, Romania Faithful Service Order, Rank of Officer Awards „George Apostu” Prize, Bacău, 2013 Romania Artists Union Jury Award, 2006 Grand Prize, Osaka Sculpture Triennale, 1992 „Atelier 35” Prize, 1988 Exhibitions 2012, „Storage”, Bacau 2007, Almelo, Netherlands 2006, „Disorient Express”, the Romanian Peasant Museum, Bucharest 2004, „Renaissance”, Kobe Museum 2002, Meunier Chocolate Factory, London 2001, Osaka Triennale 2000, Riverside Studios, London 1998, Osaka Sculpture Triennale 1998, Romanian Contemporary Art, Budapest 1995, Venice Biennale 1990, „Auriga”, Orizont Gallery - underground, Bucharest 1988, Orizont Gallery - underground, Bucharest
Mircea Roman
Lista lucrărilor / List of the Artworks
Personaj cu armură interioară, lemn/ Character with inner armour, wood Pieta, lemn / Pieta, wood Pieta, lemn / Pieta, wood Pieta, desen / Pieta, drawing Premiantul, lemn / The winner, wood Femeie la zid, teracota / Women at wall, terracotta Înţelept, lemn / Wise man, wood Omul scândură, bronz / Board man, bronze Omul scândură, bronz, lemn / Board man, wood, bronze Omul cu tichie roșie, bronz, lemn/ Man with red cap, bronze, wood Fusta, lemn / Skirt, wood Doamna, lemn / Lady, wood Femeie la zid, teracota / Women at wall, terracotta Ramă barocă pentru sâni, lemn/ Baroque Frame for Breast, wood Om în alb, lemn, tifon / Man in White, wood, gauze