Grădina Raiului | Heaven’s Garden, 1994

 “Grădina Raiului” (1994):

Mi-am imaginat şi construit un spaţiu pictural închis, sub forma unei construcţii, care te înconjoară din toate părţile. Ideea şi modul practic de construcţie a acestei instalaţii provin din însăşi casa de locuit şi curtea românească, care au fost expresia aceluiaşi spirit de sinteză între practicitate şi între deschiderea spre orizontul de vis şi de imaginaţie, spre orizontul de taină al existenţei.

Ideea de la care am pornit, bazată pe tematica aleasă, m-a condus la găsirea acestei structuri în care se îmbină uşor tridimensionalul generat de perspectiva camerei cu bidimensionalul dat de petele mari de culoare uniform aşternute şi de decorativitatea dată de modelul şi ductul traseelor înscrise cu negru pe marginea lucrării.

CP

Carmen Cristian – editor, Romanian Television 1994:

This is Claudiu Presecan and he deals with a subject common to all the plasticians. This subject is considered by some critics to be pragmatic because it symbolizes the Genesis. Genesis represents the interval between two worlds – it is natural that the diplomas mark a separation from something else, of a different reality. Please start the documentary about Claudiu Presecan who represents in his works a special bound between the sky and the earth. One can discover here a common motif with Mircea Eliade who consider that the stairs seen in the foreground at the beginning of the documentary marks the link between the sky and the earth, the Gods coming down on these stairs-bridge while the spirits are raising on it.

This approach creates special spatial relations. First of all the special place of the art, that is to configure the closed land, the garden surrounded by boundaries, that hortus closus protected by the outer world, like a nest which is separated from the outer phenomenal world and from the space which is enclosed in it. In its center there is the nucleus of the Trinity: it is a circular space which points at the moments of the rebirth, this Genesis represented firstly through colour. The colours are programmatically basic, beeing the essential colours of the spectrum which symbolize the whole world and which keep coming and going in an obsessive way through categorical lines resembling to the gestures of the Genesis, expressed by tough and even planes, but the colour is bright, ample, fairy and in fact it creates the illusion of a heavenly space.

My hope is that people watching this documentary will be able to understand, to witness this force transmitted by those images, this power coming from an enclosed space which communicates with the inner world. Therefore we can see that this relationship with the exterior is a limit, through those beams, through the eaves seen by us.

There is the limit between the interior and the exterior perceived as a special relationship. The outer world which is represented with steep lines in which we can perceive the broken gestures as opposed to the spiritual fairy of the inner world consisting of this religious beauty which is integrated in a wreath apparently dull and calm reproducing almost identically a preexistent reality, but which shelters in its center the real fairy. The truth, in fact the word of the truth.

The work is structured in many layers. There is this axle of inner world establishing the link between the sky and the earth, and the vertical axle. But there is also the horizontal axle, which turns towards the outer world, bounding the interior with the exterior. There is a multitude of relationships and links. The link has acquired a large symbolistic and it marks the relationship between the act of creation and the outer world, between culture and nature.