April 27 - May 28, 2012
contemporary art space
F.D.P. - Fabrica de Pensule, 59-61 H. Barbusse st., 1st floor
Nothing to Hide
artist: Dan MACIUCA
Attaining a delicate, refined balance between the irrepressible spontaneity of the gesture and the implausible overall harmony (using the word in its most basic aesthetic apprehension) of the artistic image / object represents the core challenge tackled by Dan Măciucă’s art for more than a decade now. Known especially as a daring and passionate painter, he has recently transferred this challenge also into media such as collage, sculpture and even video. Some of the first coherent and truly compelling results of this endeavour are featured in Nothing to Hide, his solo show at Bazis, which confronts the viewer with an artist who, somewhat paradoxically, becomes increasingly complex and diverse by the very deepening of old obsessions.
art historian and curator
The show hosted by Bazis, Dan Maciuca’s Nothing to Hide, brings forth another painter who also on this occasion decided to step away from his familiar medium and tackle his old interests in the form of collages, sculptures, and also video.
Dan Măciucă is well known for his wild, spontaneous canvases, on which thickly applied paint still gives proof of a well-thought chromatic arrangement and composition. The surfaces of his works are rough and textured, and already close to reliefs; his interest in all things having to do with matter: its structure, texture, and ultimately volume, inevitably brought him to outgrow the bi-dimensional plane of traditional painting. In the works shown at Bazis, the artist decided to go even further into translating his paintings to 3D objects, and the result is nothing short of spectacular.
In taking up his older themes and quests and rephrasing them in different media he (literally) adds a new dimension to them, thus they don’t seem to be dull or passé, instead they become more interesting and complex, posing new problems. This just goes to show that digging ever deeper into the same old questions isn’t necessarily something bad, as long as you manage to find surprising and intriguing new answers, this being precisely what is happening here!
The objects used in the collages / sculptures are mainly found and repurposed items such as (plastic) bottles, industrial scraps, pieces of glass and wood, different materials with as many different textures as possible. This offers a new life, meaning, and function to these objects after they have been cast off as useless. The jagged edges offer a raw finish and the colors, although quite similar to the artist’s usual pallet are no longer obtained through physical combination of pigments, but rather found such as they are and then juxtaposed. Another element is the use of commercial magazines, which are found in over abundance all around us and to which we don’t exactly pay attention; here they have taken on other shapes, they’ve become strange landscapes: peaks, valleys, and caves that capture the eye despite their apparent mess.
The show contains three pieces created more or less in this same manner, my favorite of which is the first one on the right-hand side. Its value comes from the fact that it is just perfectly clear in getting the artist’s message across to the viewer, and also I especially liked the uncluttered and very well balanced composition. The work next to it is much more three – dimensional, using bent pipes and wires, while the composition that used various plastic bottles was clear in its simplicity and chromatically exciting. What I found to be an excellent invention for the entire show was the way these three pieces were illuminated. The light-bulb at the end of a tube that is built in the work and hangs above it like some sort of fishing pole creates an amazing lighting for each piece and the entire atmosphere of the show becomes incredibly elegant because of this. Any other lights are turned off, except for the video projector, and the gray walls of the gallery really work to an advantage. The washing machine door, stuck to the wall, has the appearance of a round window that shows you what’s on the other side of the wall. The jumble of clothes inside make for a piece that initially makes you smile, but as you look at the clutter pressed against the glass you cannot help but reference Arman’s Le Plein, albeit a miniature version of it.
A piece that stands out in the show is the world created and contained in what used to be a wooden chest of drawers (by my best guess), now torn open, illuminated from the inside, which it is mainly an excuse to play with as many textures and materials as possible, the shards of glass, the clumps of wool, the leftovers, and so on. It’s a game of differences, but one who’s power I’m afraid was not fully developed, especially since I find it to be somewhat disconnected from the other displayed works.
The video on the other hand is spot on, a journey through a strange land with bizarre geography seen between the flashes of the strobe light. The messy artist studio that is actually presented, the glimpse into what looks like a hoarder’s collection, all rendered much more serious and even slightly disturbing by the addition of the unsettling background noise and the aforementioned usage of the strobe light. This experiment had a really great outcome, with the particular textures, the trickling water aspect, the constant feeling of apprehension you get, as if you are exploring something you should not be seeing. The artist has nothing to hide, even if it’s not the prettiest sight to behold.
With these well constructed experiments, Dan Maciuca proves that he can very well rise above what is expected of him, all the while sticking closely to the path set up by his obsessions. His paradoxically elegant show, along with Badita’s were two of the best shows I have seen at the Paintbrush Factory for what seemed to be quite a long time. Hopefully their frequency will once again pick up.
Text by Voica Puscasiu