messages from a silent world

PAINTING 2019 – 2022

The series of works „Messages from a silent world” is characterized by discreet lushness, the living, vibrant and harmonious concept, a reflection of the close connection with „mother nature”, with the forest and the garden. We can imagine walking on a summer day, under a friendly sun, through a flower field or a rich, relaxing, meditative garden, with steps lightly touching the grass and the ground. From time to time his hands caress the leaves and flowers and do not get upset when a rebellious thorn stings to the point of bleeding. No harm, just to protect the flower from a possible intruder. And the red blood mixes with the green of the plants, leading to an image of the microcosm that makes a secret sound, only understood by the artist.

At Vera, the geometric motifs come to life, from austere and symmetrical, they become lush, in dynamic compositions, a true almost explosive vegetal voluptuousness. Reading the botany science textbook, you may be surprised at how much poetry there is. Mix up terms that you wouldn’t even think were related to the life of flowers, stems, or leaves. And if you try to outline Vera’s paintings, you should turn to a plant ontology that begins with cell divisions, mitosis, and continues with primordial meristems, which come from cell division, being the youngest tissues that make up the embryo. And we can continue with phrases that seem to be an erotic-vegetal-geometric prayer of the flowers: Types of corollas: – dialipetal – with the petals completely free between them; – gamopetal – with the petals joined together; – actinomorphic – with equal petals between them; – zygomorphic – with unequal petals between them; – actinomorphic gamopetals (polysymmetric): infundibuliform, campanulate, hypocrateriform, urceolate, tubular); – zygomorphic (asymmetrical) gamopetals: bilobed (nettle), personified (snapdragons), asymmetrical funnel; – actinomorphic and zygomorphic dialipetals.

I found out on this occasion that the eroticism of flowers is supreme, they even have ovaries, so orgasm is followed by birth. We turn on the „vegetable eye” and visually tune in on the road to a quasi-tactile experience. As Eugenio d’Ors told the story of the philosopher Bernard Berenson, who in a treatise on Florentine painters described them as transcending the laws of the two dimensions, simulating the third, offering indirectly and by illusion a key to the pleasure of the spectator. The means invoked is to obtain tactile values with the help of optical impressions. A sensual substitute for sculpture or architecture, concludes Eugenio d’Ors.

Text: Cornel Gingăraşu