The result is colorful, fluid, baroque forms evoking nature, rivers or clouds, waves, undergrowth, organic structures and rhizomes. (...)
The observation is prolonged, the evocation of this real or fairy world becomes embroiled. The painting becomes autonomous. Lines and surfaces create abstract and broken, non-naturalistic spaces. It becomes ambiguous, gentle and violent, sensitive though insecure.
Magda Amarioarei is full of questions. She speaks, she writes without naming painting. She talks about what painting says or should say.
She opens and spreads
(*) Extract from Text by André Delalleau
My paintings are brought to life by my desire to meditate and to create space and connections as such. As symbols attach a sense to a given image thus, the painting connects the image to the sources of the imagination (such as perception, memory, archetypes) and to revelations (the very action of painting).
For the Roots series, paintings are closely related to my biography and my exploration and the way I transliterate my relationship with the environment in terms of color, texture, atmospheres, matter, all in all spiritualized and dramatized by the mixture between image and painting. Bir
(*) Extract from Ecobiography
La série "Les Enfants Ancêtres (la nature du paysage)" est une approche poétique d'un mythe indo-européen qui véhicule que les humains serait les âmes du lieu et de la nature incarnée, qui après la mort et comme l'examine le mythologue Mircea Eliade, retournent dans les arbres, dans les fissures, dans l'eau, en attendent d'être accueillis et restaurés dans le monde.
Ce mythe souligne la solidarité de l'homme avec la nature et le cosmos environnant, mais aussi la formation de l'intérieur de l'homme dans les entrailles de la terre, en montrant la
(*) Extract from Les Enfants Ancêtres
“The Cro-Magnons lived with fear and amazement in a culture of Arrival, facing many mysteries. Their culture lasted for some 20,000 years. We live in a dominant culture of ceaseless Departure and Progress that has so far lasted two or three centuries. Today's culture, instead of facing mysteries, persistently tries to outflank them.” (This quote is from John Berger, one of the first people to visit Chauvet, home of the oldest cave paintings in the world - The Guardian.)
Painting is definitely one of the most difficult (maybe even ‘the’ most difficult), ungratef
(*) Extract from Fragments and Landscapes by Koen Wastijn
Magda Amariorarei has a fascination with space. Perspectives and grids help us interpret the world, but Amariorarei looks beyond this. Her work elevates reality to a timeless composition, using the geometric forms of today’s civilisation to evoke a world of contemplation and evasion.
Amarioarei uses natural landscapes as a starting point in her work. She combines it with lines of perspective which make a reference to industrial or urban elements, creating a fictional geometry. Their goal is not to constrain the viewer but to inspire him by projecting an intuitive world, a
(*) Extract from Landscape, a Matter of Time by Emily Rammant
Impressed by the contrasts and the links between cultures throughout history, I use memory and nature as a framework for collective experience as well as referent. Nature seen as sanctuary, matrix of interdependence and movement, interests me to the same extent as the nature seen as archetype of the separation of opposites, model of hierarchy and domination.
Through sculptures, as a form of new archeology, I try to explore the transformation of immediate reality into symbol and to investigate the transcendence of ephemeral lived experience into knowledge,
(*) Extract from Sculpture