argument

The process of disseminating the sacred in digital art, more precisely in the postmodern universe, is not meant to be a dislocation or annihilation of tradition, but a positioning of the sacred discourse in a modernity whose substance continuously accumulates profane, secular language. In the artistic sense, I developed a new set of values in my own creative thinking.

The illustration of a type of attitude that is insufficiently defined but detailed enough to charge the characters in this series with emotional rawness, makes this, or rather the simplicity of the works, to place them in a plane much closer to the viewing public. The intensity of the expression and the substantial concentration of the series of works, I realized through the appearance of the sacred concentrated in the symbol of the cross, which is carried by each character. "Sunday or the Woman from whom faith was not extracted", is a series that I thought was placed in a current situation with problems related to interaction, in a Sunday where the mundane meets the sacred. The stake of such aesthetics is the account of the distinctive feature offered by the sacred, as a refuge in a reality given by the impossibility of avoiding the flow of the profane through people's lives. In other words, we can consider this addition of features and symbols used in works as a component of a necessary ensemble for postmodernism, becoming a priority equation in a world that is not described under the auspices of multiculturalism, pseudo-knowledge.

We achieved the intensification of the expression through the appearance of the substantial concentration of the discourse on one of the symbols of sacredness. The cross. With such an aesthetic, I tried to metaphorize endurance. In this aesthetic context, I see permanence as an immediately necessary process, a phenomenon that transforms its appearance but not its content. The characters acquire aesthetic meanings defined rather as a state of an individual mentality, fused, located above a collective mentality, for which the cross is the main symbol representing the sacrifice to redeem humanity, or/and a spread of the human.

The amplifying interpenetration of the two apparently distinct worlds, that of the sacred and that of the secular, I thought of as a symbiosis that would define a functional constant, this constant representing and defining the specifics of permanence. For reasons of aesthetic unity, I limited myself to the articulation of the specifics in European cultural modernity, where the cross, symbol of Christianity, gets an amplified referential effervescence. The constellation of traits captured in each character from the works of this series in contrast to the unique symbol of the cross, makes the immediate reference to a Christian human community carry with it the definition of the savior. At the same time, it also defines the fear of the irreversible loss of some values from immemorial ancestry.

The size of the temporal distance between the defining features of the two sacred and secular worlds, placed in an aesthetic context configured by the attitudes of the characters, triggers a substantial reconfiguration without censoring the structures of the sacred. It was interesting to note that in the end, although I had worked with the attitude-type module, it was inevitably born between the contrasting symbols used. a constant coherence and cohesion of the newly appeared structures. The cross, the symbol that offers similarity, is the one that also works in every work of the series, as an antinomian element. Without a loss of the identity of the sacred world, without a contamination of the "true faith", we aesthetically outlined the woman as a depository of religious, sacred elements, by constituting a collective source memory.

In order to reproduce the variety, I used in the component portraits of this series unexpected asymmetries and clarifying clothing elements, which in the actual process of creation, justify the temporal axis and complete the expressiveness in handling the artistic language to be easy to understand. Analyzing the fact that the viewer is more used to judging the elements related to the content, than the language of the artistic works, I used the clothing elements common to our era, in tandem with the cross, a sacred symbol, transformed here into an accessory, defining it as a motive - familiar appearance.

Without having lost the symbolic elements from the works of this series in a non-functional primitivism, I synthesized in unitary lines creating with the help of imprecise lines necessary representations with exact intentions to define aesthetics.
Lavinia Bujor-Deaconu