“The presented project incorporates elements taken from the
scenography, street art and everyday imagery, passed through the
postmodern filter as a way of composing and by the expressionist filter as a
way of pictorial expression.
My paintings coagulate scenes that do not necessarily subscribe
to an aesthetic attitude, but delineate the search for a very personal process
of making the image. For me, this project is a complex challenge in seeking and
acquiring an own style of state expression through an artistic approach that
helps me to reach the unique way of releasing my gesture in response to the
chosen subject. The images taken from them are de-structured and re-composed to
create various, magical and dynamic compositions, completing the collages
through the basics of pictorial-gesture, line, spot and shape.
In my works I discuss the problems related to magic,
dream, form and composition, metamorphosis of the perception filters, the
characters rendered by me being deformed, with strange atypical faces. I like
to reinterpret the facts of reality into a world of mine, full of magic,
beautiful, ugly, through deformations, elongations, twists and turns sending them into
a grotesque visual area. I want to suggest the atmosphere of dreams, to express
an emotion without resorting to narrative clichés. What I am interested in is
the absurd, the exploration of the limits of reality, which can bring
about an individual reality. "
Without narratives, without heroes, the
postmodern community is composed of masses made of atoms in an absurd
Brownian motion — and it’s fine!
—because the big social stories break up; individuals find themselves in the
nodes of communication networks socially positioning them and allowing them to
perform movements in the middle of these language-based societies.
As the society is atomized in simple language
games, any statement must be considered a move made in a game — the players of
the games respect the same rules to understand and accept each other; and
that’s Lyotard’s greatest gift for us, it means that we can even build our own
games as long as we can find someone to play with, someone who accepts and
follows our rules of communications. Of course, these may seem like
complications.
Those
complications — of fitting in a society that works on Lyotard’s theory of language game — spark in
artist Tincuța Marin, in the wicked paintings of her own distorted realities. She lives in Cluj-Napoca and studies painting at UAD; she lives, like every one of us, in
multiple -language games- which bring to every one of us distorted views on
things – views that even after expressed, will change their meaning in the eyes
of the public. The artist reinterprets the common reality and gives us her
own, which is a grotesque combination of ugliness, beauty, anxiety, and
alienation – all this using her own language game rules.
Where do the
paintings power emanate from? The grotesque atmosphere is only a foyer to the
effect. I think Tincuța’s intense awareness of her own
emotions is part of it — how she tries
to find a style that would allow her to express herself in simple gestures, and to be able to express emotion
without narrative clichés— that quest on
itself becomes the source of power for
her works.
That’s what Tincuța’s show at Expo Maraton’s VII-th edition made me think about, the postmodern self, the
search for a game you can belong in by finding the rules— or creating your
own. How do you face those distorted
realities?
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