THE ORIGIN OF BOXES | STEFAN RADU CRETU
Partners: UNAgaleria & 418 contemporary art gallery
CURATOR: Simona Vilau
Where do Stefan Radu Cretu’s creatures come from? On the occasion of his current exhibition, the mystery is going to be revealed. Paraphrasing Charles Darwin’s Origin of Species, the artist builds up a family tree of his own inventions.
Playfulness meets philosophy, mechanics blends with design and humor masters inventions in all his artworks. His creatures move, growl and vibrate in an unforgettable, unique way.
The Origin of Boxes is an exhibition with a setting built as a huge aggregate, made by inter-connected, various elements. His prolific creation comprises sculptures, assemblages and installations inspired by nature and the little, fascinating worlds of insects and animals, but, in the same time, he touches more complicated subjects, such as Darwin’s theory on the evolution of species or modern theories about the universe.
Such an inventory might seem difficult to tackle in a work of art, because its theoretical complexity creates an impossible mental labyrinth, hard to replicate in a single image or object. But Stefan Radu Cretu is guided by humor, by playfulness and a surprising, yet friendly formalism, and these traits give his work a different approach.
How do we recognize his works? Be them bi- or tridimensional, his volumes are casual, jolly interpretations of aircrafts, insects or birds, they are painted in vivid colors and enriched with watermark mechanisms, moving or still, but they nevertheless give a movement impression. He uses various materials – colored metal, wood, resin, plastic, electric components, fiberglass; these are industrial materials, very resistant to harsh weather. His oeuvre, already vast, was present in many solo exhibitions indoors, in gallery spaces, such as the current one, or outdoors, on pedestals or in natural environments.
Altough his works still have modern traits, resembling the historical avantgardes’ manifestos on movement or of experimental constructions, situated between sculpture, installation and design, through the simplicity of electric circuits or their kinetic components, when they still appear, but through their appearance and the process, his art belongs nowadays. There will always be debates on how much sculpture can evolve, if such a progress is neccesary or if certain disciplines need, in fact, transformation or they can live on exploring the same, continuous territory which is, assumingly, everything?
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