Venue: Cultural Center of the Romanian Union of Architects, Bucharest - Romania
Period: April 9 - 29, 2014
Curated by Laura Lucia Mihalca
"Lyrical Geometries" is the second personal exhibition of visual artist Voicu Dragomir. The body of work spans over four years (2010 – 2014) of creative efforts, consisting of 16 paintings in acrylic and wax crayon, 18 drawings in ink and watercolor and 6 copper sculptures. Voicu Dragomir uses the language of abstraction with considerable ease and propensity to invention, while maintaining several elements as fixed stars of his creations.
The sculptures entitled Venus, Satellites and Saturn (2010) have a strong geometric character, building on the metaphor of cosmic space to offer the viewer not just a volume, but also a perspective inside the sculpture. After almost two years, the first geometric paintings – e.g. Sun God (2012) – use a similar language, which will be further developed in larger canvases from the series Dividing the Thread (2013). The latter four paintings hint at Mondrian’s neo-plasticism, in spite of their baroque color load and stacked forms. Target Shooting, which also gave the visual identity of the exhibition, is prone to minimalism, although it is chromatically expansive and has a collage aspect.
The series of ink and watercolor drawings united under the title Blind Spot (2013) are a shifting point in the work of Voicu Dragomir and they created at the same time with the aforementioned large canvases. The selection for the current exhibition aims to bridge the gap between drawings made with the free hand and those resembling the ascetic exercise of architectural sketches. In between these extremes, the work entitled Born Head Down is the messenger of works based on the translation of mannerist line in abstract painting.
The period between October 2013 and March 2014 was witness to the creation of a radically different body of work, oscillating between minimalist drawings in black or silver ink and highly colorful paintings in crayon with graphic ink elements. The common element to these creations is a treatment of the curved line, either alone or in contrast to the straight line or sharp angles, sometimes in monochrome settings or in an explosion of wet, flowing color. In all cases, there is a poignant contrast between the graphic aspect and the chromatic background, which render the visuals with a certain tension and unease. The color is almost psychedelic, as in the series entitled Biological targets, Classical anomalies (2013) and Repeated accidents (2014), which – in conjunction with the monochrome silence of graphical inserts – create a lyrical atmosphere which drives the viewer into an almost hypnotic state.