Earlier this month I saw Ion Iancuț’s personal exhibition Light Seekers (sculpture and pastels) at Senso Gallery here in Bucharest.
Most of the works were quite memorable, as I expected. Here are some of them.
Light Seekers, 2017 Bronze 44 x 77 x 6.5 cm (17.32 x 30.31 x 2.55 in)
Look how these Light Seekers seem to rest on their walking sticks, as if they had found something like Archimedes’s fulcrum (“Give me a lever long enough, and a fulcrum on which to place it, and I shall move the world”).
Alternatively, I see them pointing down from the sky with sticks like diving rods—rods which point us to the light hidden in our earthly lives, under our worries, disbelief, and general lack of interest in higher forms of existence we could embrace . . . if we only paid attention to the many fulcrums in our paths which could help rise us aloft.
Accordion, 2017 Bronze 17.5 x 47 x 42 cm (6.88 x 18.50 x 16.53 in)
The Archers, 2017 Bronze 78.5 x 35 x 49 cm (30.90 x 13.77 x 19.29 in)
Tired Angel, 2017 Bronze 43 x 32 x 10 cm (16.92 x 12.59 x 3.93 in)
Star Seeker [n.d.] Pastel on colored cardboard 70 x 50 cm (27.55 x 19.68 in)
Ion Iancuț was born in Răducăneni, Iași county. He graduated from the Nicolae Grigorescu Institute of Fine Arts in Bucharest in 1974.
Dumitru Radu, Echo [n.d.], Senso Gallery, Bucharest, December 2017 Bronze and marble 30 x 30 x 30 cm €3,500
This figure doesn’t move inside the bell, so it’s not quite a bell clapper, but with its trumpet and openings in its body, it suggests to me someone who has embraced a certain space of meaning—themes from his past, for instance—and turns to that space—that of the bell—to amplify his concerns, his voice growing in the echo of others who have worked before him (in this respect, to me the bell he’s echoing into could be the trumpet of a predecessor like him).
This type of bell is, in fact, in Dumitru Radu’s oeuvre some kind of funnel, one that brings us in and out of existence, and also a musical instrument through which the music of God resonates. For more about this approach see this presentation by Luiza Barcan at Simeza Art Gallery in Bucharest in 2014. (The talk is in Romanian but the video shows many of Radu’s recent sculptures.)
Here’s a work I saw at Senso Gallery in Bucharest last fall.
I’ve seen warm marble in Bernini’s Rape of Persephone (where Pluto’s hand sinks into her flesh), pregnant marble in Brancusi’s Beginning of the World (where an ovoid rests on a polished steel plate: the material world and its metaphysical alter in bud), marble draped in lavish folds in Michelangelo’s Pietà, diaphanous in Giovanni Strazza’s Veiled Virgin . . . but I’ve never seen marble quite so soft and elastic as that of Cristian Pentelescu’s in The Gate, or if I did, I don’t remember—