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Alina Lelijak
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about the artist
School: Master Degree at the University of Art and Design, Cluj-Napoca (painting department)
CV: 1997 July - Workshop campus - Monok, Hungary
1998 September - Documentation Program - Venice, Italy(Romanian Institute of Culture and Humanistic Research - Palazzo Correr - Campo Santa Fosca)
1998 October - Group exposition - Casa Tineretului
1999 February - March - Group exposition - Galeria Erlin, Budapest
1999 March - Art Budapest - International Contemporary Art Fair
1999 March - April - Group exposition “10 Days in Venice” - Casa Matei Corvin
2000 - Goup exposition - “Kalokhagathia” - Expo Transilvania
2000 November -December - Ceepus Scolarship - Academy of Zagreb, Croatia
2001 May - Group exposition - “75 years of Superior Art Education”- Casa Matei Corvin
2007 June-July - Expo of the graduated students from the University of Arts and Design - Expo Transilvania
2007 November - December - “Lascar Vorel” International Biennale of Fine Arts - Museal Complex of Neamt
2008 March - March exhibition - Projekt30.com
2008 May - May exhibition - Projekt30.com
2008 July - July exhibition - Projekt30.com
Affiliations: 2006 Member of the Romanian Fine Arts Union(Cluj-Napoca)
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artists' statement
Why today, more than anytime, the human body configures a space of controversy: attention – on one side, as attraction and routine body – on the other side, as a thematic lacking profoundness? Why all the shops, mass-media, publicity are saturate with the image of the naked body or of the virtual nude? Why are there so many writers and artists who try to enter the subject depth for searching there, in denudation, a precious expression dike seeming lost in a symbolic lacking signification?
In a computer era, creation mystery is forced not only to gain new valences, but especially a totally different approach from tradition and/or currents.
The human body has been reconsidered and reconstructed by art and literature, as it was restructured by science and engineering. Parts of the body are today dislocated from one man to another, the implant is a fashion appanage, and technique has become integrating part of the human organism as a substitute necessary to functionality. The human body became a real scarred and feudatory battlefield
The partial or total extrapolation technique of the body as subject-object succeeded in separating it, it seems definitively and irrevocably, from the Being as transcendence or bridge to transcendental, keeping only the sentence connotation of it as a subject. Caught within the existential degringolade, the human body perpetually enfolds on forms apparently modifying its statute – and I say apparently if the appearance, in this conditions, replaces the evidence.
I am reporting myself to nudity as to a things state of facts, primordial and not necessarily pure; I find in nudity symbolism sufficient anchoring of own expression searches and not necessarily the certitude of a pre-established way.I am not interested in the form itself but in what the revelation might hide, the beneath as retrieval in another chromatic aspect. At the limit of the form I thus provoke the meeting of two spaces – old and new; under and above; closed and open; compact and rarefied etc. – as non-contradictory duality and searching for its completion in complementarity.
We are the partisans of own projections from past and / or about future, tributary projections not so at the level of intellectual or educational level but compared to what we are leaving behind as a trace (to be understood as completion/ failure, etc.) or its lacking (to be understood as waived action). The past comes back as the Same but always as Another Interpretation.
I chose the female nudity as form purified from any intrinsic or explicit content and I tried to use its contour making abstraction of the entire arsenal of symbols more or less primate, more or less impious and / or mystic. Nothing is only what it is immediately seen, as evidence or visual impact, and work finality exceeds even for myself, the canvas margin both as frame or touch relief. I searched for expressing not certitudes, convictions or technical mastership, but interrogations addressed both to myself and to the looker.
The pictorial space generates a tectonic or plastic order whose equivalent cannot be supplied by any achievable connection in the real space. Organizing among them, sensitive components of pictorial space organize in the same time significations adhering to them, thus the formal consistency of the pictorial world becomes the support of a coherence of ideas and values.
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artists' work
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media interviews
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white papers
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exhibition reviews
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