OF GABRIEL STAN
a real master technique anda lust of light, Stan seems to throw
hispaint with an expert hand on the canvas,realising profiles a
little fantastic, whichseem heavy with symbols. His savoir-faire,in
some works, is flirting with a high realism. But Stan's work ismostly
a look upon the world, which is loading his painting with energy
and sensitivity. In his amazing way of painting St. Michel Mountain
or Saint Malo there is an explosion: <<two places which have
touched him since he has arrived in Bretagne. He was also interested
in Britton hoods.>>
31 march 1999
ROMANIAN ARTIST OF THE '90
Stan enters the depths of the spirit
Gabriel Stan, a Roumanian artist, has formulated a highly unique
methodology. Through his paintings, he attempts to explain different
phenomena from various points of view physics, mathematics, astrology,
mythology and religion. He leads the viewer beyond the sense of
conventional space and time. But before Mr. Stan can even begin
painting, he must delve into the realm of his studies. The inventiveness
of his techniques cerebral and tactile is the vehicle for his personal
In the "Primordial Week" series, Mr. Stan depicts each
day as independent worlds which we have access to in our sleep.
The series are the days of the week represented in diptych form
one painting for day, the other for night. The week is composed
of seven days and is explained by mathematics. Each day is ruled
by different planet. Anyone can commemorate in their subconscious
the seven cosmic universes which exist simultaneously. Thursday
is the strong day a day of fire vivid and red. For Mr. Stan, Thursday
is, "The fourth dimension universe. We perceive it in our dreams."
In Thursday, the two paintings are named Dance of fire and Day of
Jupiter. The magic of the paintings lies in its optical effects.
It is a special mode of sensation. The two figures in Day of Jupiter,
are caught in a rainy torrent of flame-hued paint. The single figure
in The Dance of Fire is a whirling dervish, suspended in mid-air.
There is mystery, isolation and esoteric symbolism in these figures.
The paint is handled viscously, as if poured. The paintings have
the visceral impact of a Francis Bacon.
"Manhattan Arts", New York
sept. - oct. 1992
MAGIC GAMES OF GABRIEL STAN
anyone trying to decipher it, Gabriel Stan's art posesses in itself
some difficulties. His art lies outside words, living through an
inner existence, nurtured naturally from the nowness"
of life and plunging again in the infinite space of the unconscious.
Gabriel Stan's composition contains in itself other worlds of mysterious
spiritual nature. The artist's draws his inspiration from dreams,
free associations, the suggestive of memory, the illumination of
the fundamental strata of the subconscious, when man commits himself
to a true dialogue with the world sometimes even melting into you,
overlooking all notions of style, exploring the most intimate and
forbidden spheres of the human psyche. This represents without doubt,
the poetry of endless beginnings of the world, passing, like a catharsis
through chaos and analogy leading in the end to profoundly creative
and constructive artistic archetypes. All these spiritual technique
are constantly revealing the main pillar of his art the idea of
the uniqueness of the spirit which manifests itself in the destiny
of mankind and the world, surely captured by the artist in the majesty
of the feminine faces appearing in his paintings. It is this unique
vision that confers to Gabriel Stan's art the universality of the
images which illustrate authenticity of emotion opening up the universal
models of space where the more visual contemplation can not be the
only spiritual arbitrator. This doubtlessly represents the poetics
of eternal and ever the same beginnings of the worldwide go like
catharsis through chaos and analogy, and which finally lead to profoundly
creative and constructive results. In Gabriel Stan's art, eternity
manifests itself a rhythmical return to the same motifs representing
labyrinths, tunnels, magical spaces and towns, water pools and stairs
which generate primary schemes of history and existence.
Gabriel Stan's mysteries unfold in weightlessness, in a certain
dream-like atmosphere pervaded by a greenish-lunar glow. Here, even
the artist's technique naturally merges with the virtual topography
of the composition, enhancing it with new meanings and forms. The
form loses its emotional pathos creating a phenomenon of catastrophic
states, as its configuration dissolves in frenzy of worlds.In
this pictorial system one can find nothing else but the language
of universality cancelling all borders, the language of rapprochement
between the structures of the signs and those of the images, the
language of cosmic and direct reality, where everything is endowed
with supratemporal energy. The painter demonstrates the possibility
of simultaneous existence in different temporal spaces, when plunging
into the past and launching into the future organically coincide,
when recollection and prediction are reciprocally complementary.
Gabriel Stan redirects his art towards a lost synthesis and to the
uniqueness of space and time, of graphic and linguistic images of
the meaning materiality, where the images of cultural and intuitive
memory merge into a miraculous, organic and enigmatic mixture.
24 avr. 2000 (ASTRA)