Tuesday, September 7, 2010


One of the key concepts in Luca’s painting is its organization into vertical panels that are aligned into what is a deliberately orchestrated & imperfect visual transition. The sides of the adjoining panels appear to align to one another and yet they do not align: there is no seamless transition. This visual “glissando” effect that Luca has created reflects the painter’s thoughts that history is a collection of events that are real, but which appear different in our re-enactment of them, as a sequence of ‘voices’ whose meaning we strain to interpret and which may forever be lost.

Luca’s view is that what we call ‘present’ is an experience mediated by our immersion in the digital environment, by the ubiquitous laptop & TV screens, the downpour of images from YouTube and the snippets of information, each one of them contending for our over stretched attention. Contemporary art and the way we look at it is shaped, suggests Luca, by our interaction with the digital world, where something rarely lasts beyond the momentary flicker of a screen.

Luca’s 2010 exhibition Unmoorings was an investigation on “ how we, as embodied consciousness, function in a world of images? How do images work when they appear in the bodies of paintings?” 

 The palette of Unmoorings   was a mix of deep blue, cerulean light blue pink, red, white, undertones of lilac and shades of black. Luca’s choices were based on his study of the RGB scheme, that has yielded a mix of colors whose backlit color tinges provides them with an air of eerie levitation. (Think the colors in  Monet’s water lilies).
This same eerie and floating palette is carried over in his monumental painting.

                                         Painting by Bogdan Luca from Unmoorings, June 2010

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