argument

Starting from the understanding that angels have the quality of being close to God and close to man at the same time, and then if they have the same root, they would unfold in a universe approximately similar to man, I have illustrated in this series a reality, a world , a universe populated by spiritual beings close to the Creator. A kind of double of man but positioned close to God, in a dimension or space very similar to man - outlined diaphanously starting from the statement of Thomas Aquinas according to which angels exist because there is order. I have infused the "Angels" series with a message, with a story in such a way that you could think that the movement of laws, human rules was done in the newly created dimension as a frame-help of natural mirroring for understanding facile of the newly described reality. br Sometimes I opted for a chromatic palette in strong shades.

The influence and cultural link of this series of works is the sacred as an inner dimension, as an inner culmination. The starting point towards an ultramodern, postmodern representation was the right point itself, the circle, the triangle... the geometric shapes. I created the works through an exercise imposed by the imagination using analyzes and syntheses necessary for this dimension in a version started from scratch. I have dedicated hours to bring to life a concept that actually speaks about man, showing that in the immediate existence following the immediate existence, as a possible option there could be a new close world both through the elements used and through its function in our life, representing - it functions as an experience that helps you to transform yourself and discover new and new experiences or perspectives - that is, a kind of "immersive" experience. in a sacred but non-conforming world. I found it suitable for this world that stimulates you to transpose yourself into another place, dimension, universe, than the one you might expect, to be represented timeless, rendered with the help of geometric shapes. I mention that this argument was born from the desire and the need to explain in detail the reality imagined in the series "Angels". As a working tool, the geometric shape gave me the opportunity to highlight aspects related to notions that helped and from which I created expressions, experiences, feelings, emotions. The goal was to highlight the links between geometry and the surrounding world in the newly born universe and at the same time to emphasize part of the laws that dominate the universe, the whole, the order, the absolute. In Greek GEOMETRY would be geo=earth, metria=measure.

We analyzed, synthesized and understood the fact that the description of the space of existence of some beings close to God, the angels, through geometry, is the choice that facilitates the understanding of some sacred units in our human lives: sacred beings unseen but seen with the help of the imaginary, borrowing laws, lives, expressions that lead you to think of human lives, feelings, emotions. At the same time, the beauty of geometric shapes leads to an easier recognition and construction of the new imagined universe. A universe that transcends the human, that is beyond the physical, profane world. I used the point, the simplest geometric shape, to create character traits, emotions, moods, experiences and the element-motive found in some of the works of the series, the common being "Swarm". "The Swarm" it would be in this case, the representation of the connection between the worlds. It comes from somewhere, it leaves, traveling through the imagined universe without being a constituent part of it, interacting and leaving behind attitudes, expressions, everything to outline and describe the imagined similar features between the human universe and the imagined one.

The initial formative process of the immediate reality is beyond the spatio-temporal area of understanding to which we would be constrained. It was a matter of some descent from the sphere of an unknowable, almost mysterious nomen directly into a world, dimension, reality that I described through the force of the sensory phenomenon.
One of the most valuable contributions to the inner liberation of this series was brought to me by geometry. Although one might think that this would be scholastic ballast of dynamic conception, it was actually the starting point that helped me form architectural schemes after which the angelic universe becomes a stable and spatially circumcised form. Without an objective solidity, I cannot talk about a correctness of form, but I have created an attitude and an understanding of a rare subtlety of form beyond form, of space beyond space and of time beyond time. I consider the "Angels" series, an enrichment with new ways of reflecting on reality.
I saw the fruitfulness of the series in the simple, happy opposition between starting from the fixed schemes given by the world of geometry and the infinity of possible realities still completely unknown to man.

I let the presence of a similarity between the well-known world of man and the world of angels be felt underground, this one with the role of a unifying center that acts throughout the series as a factor of amplifying the expressive tension.

The chromatic abundance is missing. Its lack helped me to define the complexity of variants and realities that could chain infinity. When I posed the problem of the chromatic crisis, I was exclusively concerned with establishing a functional logic, wanting to reduce a tension given by color, directing my speech towards defining the essence of the initial message: A deviation from the reality of immediate existence .
Lavinia Bujor-Deaconu