Pavel GROSU

NOTHING BY CHANCE
In contemporary society the status of image is that of an adaptable entity, of a volatile "subject/object" which has the capacity to change its meanings depending on the context, then occurs the problem of receiving the image as an instrument, which can provoke specific and even planned emotions.
The images are fluid and weld connections of a new semantic between politics, media and technology. They hold power, and in the compositions, which are based on collage, the raw visual material is collected with the intention of being mixed together in a specific manner to absorb the primary  tendencies of signification so that the personal vision becomes prominently.
However, under the apparent banality of a flux of more or less deconstructed images, one can always detect the threatening spectrum of marketization and control. Assuming all diachronic implications of deconstruction and re-contextualization of images, in this case "what you see is what you get, but what you do not see matters", namely: the sender is the one that manipulates/shapes the already existing information in the message; in this way he also integrates the initial content of the beholder`s mind, resulting the intelligible exformation or omission.
This exclusion of a self-assumed visual truism makes the polyvalent object of meaningful words: because information without exformation is meaningless!