This exhibition project is an attempt to suggest a world, belonging to another spiritual dimension , with a strange and particular atmosphere about it, a metaphysical feeling that appeared at the boundary between reality and imagination, between natural and supernatural.
The final result is actually an interference of ideas, separated initially, that share the same aura of initiation mystery characterizing all transition periods, all paths.
No plastic representation of concepts or mythologies was sought, actually the artist rather “embroidered” on these elements. The same imaginative attitude is requested from the viewer, who is invited at his turn to suggest new interpretative perspectives.

Reference points:

BARDO (BAR - between; DO - two) - Buddhist concept, described in the “Tibetan Book of the Dead “, that represents that intermediary state of the soul in the precise moment of death, until freed in one of the superior worlds or until entering a rebirth matrix.

Bardo - between two poles, two limits, two worlds - the state of becoming after death, is the realm between the divine and the human, the path that all beings have to take.

The Matrix - man , animal or plant - as miniature representations of the macrocosm - become symbols of the worlds the soul can reincarnate in. Thus he can “choose” to be reborn in a vegetal world, in this case the “seed” - the vegetal matrix - becomes some sort of vehicle for the soul, meant to carry it to its new universe, the vegetal one.

The Offering - the metamorphosis in an offering, through sacrifice of some elements (man, animal, plant), that are mirror images of the macrocosm, are destined to make “a breach” in this macrocosm , thus facilitating the communication between the one that carries out this ritual and the divine realm. Thus the seed can become a substitute for the supreme sacrifice (Osiris, Zamolxes, Jesus), meant to reestablish the initial balance between earth and sky, between matter and spirit, between man and divinity, also suggesting the path that leads to obtaining the “spiritual fertility”, through the annihilation of the self.

As the Bardo space is inhabited by multiple mental reflections (divinities or characters that are more or less terrifying), this world also - created y the artist - suspended between the conscious state and the dream has, in addition to its vegetal elements, either with regeneration purposes (the matrixes) or viewed as offerings, its divinities:

The Goddess - a reference to the archaic concept of fertility and continuous renewal (the Goddess Mother).
There are also other picturesque elements connected to the vegetal universe and not only to it, by the power they have on the air elements:

The Shaman (the “Cloud Traveler”) - the wandering beggar, in fact a very skillful ascetic, with knowledge of the natural mysteries, who masters the atmospheric elements.
His image is superposed on that of the Dacian - Mysian ancient priests, who also had such meteorological abilities. Like these priests, the shaman travels through the skies either physically or spiritually, mounted on a “dragon” (the demon of the storm clouds, but also a chaos principle), that he “magically” ties (reading from a book) with a rein (an enchantment - spell).
The subduing of the dragon has cosmogonic meanings as well, the shaman recreating the god’s gestures, creator of the cosmos out of the chaos.

The Book (stone ) of the Shaman contains all the knowledge in the world (assimilated to “Solomon’s seal” - the biblical king who took all the shamans under his protection, after the oppression of the church ).
The understanding of this charm - book, carved in stone, was the attribute of the initiated ones, as the teachings it contained had a cryptic character.
The book, by its alignment of signs creates in fact a magical itinerary, an initiating path. This exhibition could be interpreted from this perspective as well, as an alignment of symbols and signs, the corresponding meanings having to be sought and -why not? - reinvented by each viewer.

 

 

Prezentul proiect expozitional reprezinta o incercare de a sugera o lume, apartinand unei alte dimensiuni spirituale, avand o atmosfera stranie, ciudata; un sentiment metafizic nascut la granita dintre concret si imaginar, dintre firesc si suprafiresc.
Rezultatul final reprezinta in fapt o interferenta de idei, separate initial, care au in comun tocmai acea aura de mister initiatic specific oricarei etape tranzitorii, oricarei cai.
Nu s-a cautat o transpunere plastica a unor concepte sau mitologii ci mai degraba s-a "brodat" pe seama unor astfel de elemente. Acelasi comportament imaginativ se cere si din partea privitorului, care este invitat sa propuna la randu-i noi valente interpretative.

REPERE:

BARDO (Bar =intre; Do =doi) -concept budist, descris de "Cartea Tibetana a Mortilor" (Bardo Thodol), care reprezinta acea stare intermediara, strabatuta de suflet in clipa mortii, pana la eliberarea in una din lumile superioare, ori pana la intrarea intr-o matrice de renastere.
Bardo -intre doi poli, intre doua limite, intre doua lumi- aceasta stare a devenirii de dupa moarte, este locul dintre divin si uman, calea pe care trebuie sa o strabata toate fiintele.

MATRICEA -omul, animalul ori planta -ca ipostaze miniaturale ale macrocosmosului- devin simboluri ale lumilor in care se poate reincarna sufletul. Astfel el poate "alege" sa renasca intr-o lume vegetale, in acest caz "samanta" -matricea vegetala, devine un fel de "vehicol al sufletului", menit al purta spre noul sau univers, vegetal.

OFRANDA -transformarea in ofranda, prin sacrificiu, a unor elemente (om, animal, planta) ce reprezinta oglindiri ale macrocosmosului, are tocmai rolul de a produce o "bresa" in acesta, inlesnind astfel comunicarea, celui ce oficiaza acest ritual, cu planul divin. Astfel samanta poate deveni un substitut al sacrificiului suprem (Osiris, Zalmoxe, Iisus), menit a restabili echilibrul initial dintre pamant si cer, materie si spirit, om si divinitate ea sugerand si calea obtinerii "rodniciei spirituale", prin omorarea "eului".

La fel cum spatiul Bardo este populat de o multitudine de reflexii mentale (divinitati sau alte personaje mai mult ori mai putin terifiante) si aceasta lume -creata de artist- suspendata intre constiinta si vis isi are pe langa elementele vegetale, cu scop regenerativ (matricele) sau de ofranda, divinitatile ei:

ZEITA -face trimitere la arhaicul concept al fertilitatii si reînnoirii permanente (Zeita Mama)

Alte elemente pitoresti care si ele se afla in legatura cu vegetalul, si nu numai, tocmai prin puterea ce si-o exercita asupra stihiilor vazduhului:

SOLOMONARUL ("Calatorul prin nori") -cersetorul rataciror, in fapt un iscusit ascet, ce cunoaste tainele naturii si stapaneste elementele atmosferice.
Imaginea lui este calchiata peste cea a anticilor preoti geto-misieni, care aveau si ei astfel de atribute meteorologice. Ca si acestea solomonarul se deplaseaza prin vazduh fie fizic, fie cu spiritul, calarind un "balaur" (demonul norilor de furtuna, dar si principiu al haosului), pe care il leaga "magic" (citind dintr-o carte) cu ajutorul unui frau (formula magica -descantec).
Actul de supunere a balaurului are deasemeni valente cosmogonice, solomonarul reluand gesturile zeului, creator al cosmosului din haos.

CARTEA (PIATRA) SOLOMONARULUI -cuprinde in ea toata invatatura din lume (contaminare cu "Pecetea lui Solomon" -regele biblic sub patronajul caruia intra Solomonarii odata cu intensificarea presiunilor exercitate asupra lor de catre biserica).
Intelegerea acestei carti -talisman, cioplite in piatra, era apanajul celui initiat, întrucât invataturile cuprinse in ea aveau un caracter criptic.
Cartea, prin insiruirea unor semne, inchipuie in fapt un itinerariu magic, o cale initiatica. Tot astfel ar putea fi imaginata si expozitia de fata, o insiruire de semne si simboluri a caror sensuri trebuie sa fie cautate sau de ce nu reinventate de fiecare privitor.