OCHI - MANA ( ARIPA ) - STARE - SIMBOL - OM

Sunt in cautarea unei relatii dintre om si natura ( natura in care omul sa se regaseasca). Identificarea cu natura reprezinta o relatie culturala, un apel adresat privitorului de a da o ratiune propriei existente, imprimand artei, in acelasi timp, conceptul de evolutie, de la pozitia de vestitor la cea de simbol.

Mesajul (criteriile secrete ale artistului), implicit ceea ce se vede, este deopotriva o emanatie a sensibilitatii artistului si a mediului care il influienteaza. Scopul devine modificare a privitorului si a mediului.

Omul ca Stare - simbol al echilibrului si al dezechilibrului este in fapt o concretizare a realitatii. Seria de OAMENI-STARI reprezinta personaje ce nu exprima o realitate de suprafata, vizibila, ci o realitate ramasa ascunsa privitorului, dar care este propria realitate a artistului.

Constientizarea Starii de Asteptare (nu apatia, nemiscarea, nelamurirea ci starea mentala concreta, prezenta permanent in subconstient) m-a determinat sa inteleg gestul aplicat asupra oricarei materii ce trebuie sa fie organizata in spatiu; iar gestul artistic este exteriorizat prin mijlocirea mainii.

Mana ia forma ce corespunde cel mai bine obiectelor, devenind transfigurarea gandurilor si dorintelor noastre; astfel imaginea plastica reprezinta rezultatul unui mod de a gandi, de a simti, de a spune.

[Gabriela Drinceanu, text din Catalogul expozitiei "Oameni- Stari" Iasi 1999]

EYE - HAND (WING) - STATE - SYMBOL - HUMAN

I am searching for a relationship between human beings and nature (nature is where human beings can find themselves again). Identification with nature represents a cultural relationship, the appeal for the viewer is to give a reason for existence, imparting meanwhile to the art the concept of evolution, from the position of herald to that of symbol.

The message (artist's secret criteria), which can be implicitly seen, is at the same time an emanation of the artist's sensibility and of the environment influencing him. The purpose redefines itself as a transformation of the viewer and the environment.

The human man as state - symbol of equilibrium and want of equilibrium - is actually a materialization of reality. The series of Human-Being -States represent characters that do not express a surface or visible reality, but a reality that remains hidden to the viewer, that is the artist's own reality.

The act of bringing to consciousness the State of Expectation (not apathy, immobility, indefiniteness, but the concrete mental state that is permanently present in the subconscious) made me understand the gesture applied to any matter that has to be organized in space; and how the artistic gesture is exteriorised by means of the hand.

The hand is shaped as to better correspond to objects, becoming the transfiguration of thoughts and desires; thus the plastic image represents the result of a way of thinking, of feelings, of saying.

[Gabriela Drinceanu, excerpt from the catalogue of "Human Beings - States" exhibition - Iasi - 1999]

Gabriela Drinceanu este un tanar artist care, in anii din urma si-a conturat intr-un mod semnificativ zonele si functionalitatile discursului sculptural. Formatia intr-un climat artistic binecunoscut- cel al scolii iesene care integreaza traditiei exercitiul modernitatii- si paralela fregventare a picturii bizantine au marcat evolutia sa conceptuala si stilistica. Ca sculptor, artista imbina doua programe care, aparent, contin tensiuni identice incompatibile: pe de-o parte, avem de-a face cu asumarea conditiei volumetrice, tridimensionale, a sculpturii si pe de alta parte ea pleaca de la premisa crestina a imaginii, care refuza instalarea unui eidiolon, a "chipului cioplit".

Creand in general forme aplatizate, purtatoare de sarcini simbolice, artista obtine efectul de tridimensionalitate prin acumularea de elemente spatiale, compozitia plana indreptandu-se spre economia ansamblului complex si coerent.Starea aceasta conflictuala a discursului continua, subtil, la nivelul sarcinii simbolice, care se constituie din izvoare spirituale diferite, elementele crestine intalnindu-se cu elemente imprumutate orizontului arhaic al alfabetelor decorative si simbolice pagane. In esenta, starea aceasta de dialog nu functioneaza ca o contradictie a comportamentului crestin, pentru ca acesta in expansiunea sa in teritoriul culturilor pagane a integrat in campul sau de semnificatii, diverse aspiratii spre sacralitate si sistemele simbolice locale. Intr-o astfel de perspectiva, sistemele figurative precrestine sunt considerate ca preparatorii ale marii revelatii cristice.

Prin partitura formala si prin reperele simbolice, sculpturile Gabrielei Drinceanu ne ofera o constructie cosmogonica, cu o clara deschidere spre dimensiunea prezenta a existentei. Asezandu-se in mod declamat sub semnul sacrului, lucrarile sale se angajeaza polemic in evolutiile actuale privind limbajul artistic. Ele propun trimiteri culturale si principii ordonatoare, opunandu-se tentatiilor venite dinspre haosul informal..

Nascuta in proximitatea frescelor si mozaicurulor de traditie bizantina ( si-a legat numele de numeroase biserici, pe care le-a pictat, impreuna cu Sabin Drinceanu), sculptura sa poarta firesc elemente cromatice, unele detalii putand fi percepute ca mici compozitii independente. Aceste suprastructuri cromatice compenseaza asceza volumului sculptural, si poarta, la randul lor, o incarcatura simbolica.
Voce distincta intr-o foarte inzestrata generatie de artisti ( artista a fost distinsa, inca de la primele sale manifestari, cu Premiul pentru Tineret al Uniunii Artistilor Plastici din Romania, 1996 ; Premiul pentru Sculptura la Saloanele Moldovei, 1998 ; Premiul pentru Sculptura "Iftimie Barleanu", 2001), Gabriela Drinceanu aduce o nota noua in fenomenul "scolii iesene" care dinspre taramul consacrat al picturii se extinde spre zone tot mai largi ale artei.

[Constantin Prut - critic de arta, prof.univ.dc. in Istoria Artei]

Creating in general flat shapes, carrying symbolic charges, the artist obtains the effect of three-dimensionality by accumulating spatial elements, the flat composition orienting itself toward the economy of the complex and coherent ensemble. This conflicting state of the discourse continues in a subtle manner at the level of the symbolic charge that originates in different spiritual springs. The Christian elements meet the elements borrowed from the archaic horizon of the decorative and symbolic pagan alphabets. In essence, this dialogue does not operate as a contradiction of the Christian conduct, because this one, spreading within the territory of the pagan cultures,integrated to its field of signification various aspirations toward sacredness and the local symbolic systems?. In the artists perspective, the pre-Christian figurative systems are considered as preparing for the great Christic revelations.

By the scoring of forms and symbolic guide marks, the sculptures of Gabriela Drinceanu offer us a cosmogonic? structure, with a clear opening to the present dimension of existence. Placing itself explicitly under the sign of the sacred, her work commits itself ?for the sake of polemics in as much as for the artistic language?. Her work proposes cultural references and major organising principles, opposing the temptations coming from the informal chaos.

Issuing from the proximity of the traditionally Byzantine frescos and mosaic (her name is heard in connection with various churches that she and Sabin Drinceanu painted), her sculptures bear, in a natural manner, chromatic elements. Some details may be perceived as independent compositions. These chromatic supra-structures compensate for the asceticism of the sculptural volume and carry, in their turn, a symbolic charge.

Her distinctive voice emerged from a well-endowed generation of artists (early in her artistic beginnings, the artist was awarded the Prize for Youth of the Union of Fine Artists, 1996, the Prize for Sculpture upon the Moldavian Halls, 1998, and the Prize for Sculpture "Iftimie Barleanu" - Iasi, 2001). Gabriela Drinceanu brings a new sound into the phenomenon of "Iasi school", which spreads from the field of painting towards the larger field of the Arts.

[Constantin Prut - Ph D in Art History, Senior Editor, Foreign Languages Press Group, Member of IAA/AIAP]