ArtSenzafine
Dragos Burlacu
Dragos Burlacu (1978) is a young Romanian artist who is at the start of his career. He lives and works in Bucharest, Romania.
"I run away from styles and trends, and I consider I do not visually belong to any 'school'. Generally speaking I express myself by means of painting and drawing and I am influenced, in a certain extent, both by the classical and the contemporary area of the art. Meanwhile, I think that painting will never die because certain ideas and feelings can be transmitted by its means, only.
Related to techniques, I consider that it is harder and harder, if not impossible to make important innovations, now the difference is made by the idea, concept, context as well as their interaction.
I have experimented and I permanently experiment, to look for new relationships between the artistic object, public and space, but first of all new relationships between the artistic, public object and space, but first of all new relationships with myself. The primordial relation is with me.
Therefore I think, both in the social component of the art, and its role to bear messages and ideas. The images should have a tension or mystery; they may be contemplative on several layers of perception, or strong with an immediate impact.
"I run away from styles and trends, and I consider I do not visually belong to any 'school'. Generally speaking I express myself by means of painting and drawing and I am influenced, in a certain extent, both by the classical and the contemporary area of the art. Meanwhile, I think that painting will never die because certain ideas and feelings can be transmitted by its means, only.
Related to techniques, I consider that it is harder and harder, if not impossible to make important innovations, now the difference is made by the idea, concept, context as well as their interaction.
I have experimented and I permanently experiment, to look for new relationships between the artistic object, public and space, but first of all new relationships between the artistic, public object and space, but first of all new relationships with myself. The primordial relation is with me.
Therefore I think, both in the social component of the art, and its role to bear messages and ideas. The images should have a tension or mystery; they may be contemplative on several layers of perception, or strong with an immediate impact.
I consider myself normally interested by both situations, as the people should understand the conceptual/ emotional component of art and to pass on the second place the decorative function of a painting (decorative may be a blue chair into a red room, though it is not enough to artistically fulfill that image).
Today I do not think that there is still an image and centre as there was 20 - 30 years ago, now there is a good or bad communication.
Most of the series of my paintings were structured around an idea, the last one being Sins and virtues which is actually running; previously there was Understanding History, a series which illustrates the dictator Nicolae Ceausescu's life, the period of 'The Golden Age'. After 20 years since the fall of the communist regime, I considered that again, I can now to paint Ceausescu. I have manipulated both known images and less known ones of the dictator, attracted by simple pleasures, as hunting, billiards, society games, so that if you see these things without knowing the history of this place, Ceausescu may be transformed into an icon of the communist society from the Eastern Europe.
Beyond all these matters there remains the image, the painting, the surface that has to transmit emotions and tensions."
Published in NY Arts Magazine, 2010
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