The ‘’Ecce Homo’’ exhibition of the artist Ovidiu Buzec
The Ecce homo exhibition of the artist Ovidiu Buzec hosted by The Ion Irimescu Art Gallery, in March 2018, proposes a theme that has been analyzed in countless rows in the history of art, but now under a new vision, the one of the artist who is unforgiving and honest. He cruelly unveils, without concealment, without circumspection, the true human nature seen through the contemporaneity eyehole.
Of course, art can offer the perspective of a certain commanding appearance in observing the torment of the human condition. And the contemporary public really wished to find a person to put it bluntly, or rather to make the facts in their true fullness. We find this person in the artist Ovidiu Buzec.
The idea behind the conceiving of the exhibition is the well-known exclamation of the Roman procurator Pont Pilate, Ecce Homo (Here is the man) in the moment this one showed Jesus, with the crown of thorns on His head, the artist making reference to the contemporary man, in an adapted and interpreted manner, without necessarily having a religious connotation. He just caught, in an ingenious manner the human nature in its evolution, or rather in its involution.
The philosophical view, the ethical attitude, the socio-cultural, economical representation, the universe of knowledge or the way the world manifestations are digested offered his compositions a certain ideological outfit. This exhibition really does us good because it makes us think, meditate in the most serious way.
In the 12 works exhibited in this little gallery, the human nature acquires totally and altogether other valences, more moving, more striking, more cruel and terrifying. The manipulation, the censorship, the discrimination, the treason, the violence, the incest, the narcissism, the egoism, the upstartism, the deception, the suffer, the hate, the cheat, the defamation, the duplicity, the lies, the greed, the contemporary slavery, all are so inspiringly and suggestively portrayed that brings forth new feelings of deception, sadness, confusion and disgust, and rightly, when we look at these monstrous starts, created by some dirty characters we feel that we live in an apparently spiritual world where all that matters is in fact the money. So we notice how the main construction of the exhibition is focused on the anthropomorphous character, this because it is exclusively set up on the human presence.
But let’s not forget that art is subjective and by attentively analyzing the artist’s compositions we cannot limit ourselves on the idea of work of art (paintings) only, respectively to aesthetic objects, but if we are allowed, the need of considering the receptor (the public) and its endowments is acutely felt. Mainly, in this context when these topics are tackled in the paintings, it is impetuously necessary to keep account of the aesthetic sensibility of the receptor and of his/her capacity of perceiving the work of art through different determinations but the overall outlook. Therefore, the way a painting “acts” depends a lot on these attributes of the public. To a well-documented public, with a formed aesthetic taste, an educated public with an open and flexible vision, the paintings address in a different way than to one who is unemotional, unprepared and incondite.
We all maybe know the information so much spread that art is a balm for the soul, a remedy for sorrows, a substitute for the shortcomings, a mediator in healing the soul. Of course, I don’t deny the fact that the encounter with art avails a noble delectation, producing that catharsis for an easier acceptance of the faith tragedy. But let’s not let ourselves surrender to the surface and come down to the level of the quotidian, of the banal and think that art has only the duty to just arouse the joy or to relieve the pain but it sums up much more by offering a much higher pleasure by making abstraction of the mood caused.
By filtering through the painter’s conscience, any kind of reflection meets his vision, his ideals, gaining an exponential character resulting, in the end, a reflection of the reflection. In this sophisticated process the image of real with the creator’s fantasy is dissolved and the final product is strongly contoured by being modulated by a multitude unpredictable factors. But, as Karl Marx was saying, in all the social relationships, the man is both the subject of the creation and the subject to whom this is being addressed to, whose ideals and aspiration he expresses.
Even though the artist Ovidiu Buzec approaches an impulsive, massive way of expression, on relatively large surfaces (110 x 110 cm) and wide faced, where everything is in an intense movement toward a transformation or toward a soul rebuilding, his painting achieves, in an interesting manner, an aspect of a certain distinction. He has his palette and cleverly handles the brush, with wide gestures, in a restricted range of colours and almost invariable the same but with a superb technical enthusiasm.
The lines of the drawings run, they call each other, they reject each other, they build up in a hidden rhythm in temperance of the shapes and colours which attunes in austere colors, born from a nucleus of an expressive gravity and of an intense feeling. The artist uses a technique of a tumultuous harshness and the pictorial start is surprisingly fierce, he is mainly working mixt, using the collage technique and painting with acrylics or oil. The chosen colors acquire a softness which he preserves in a variation of nuances, forming in this cohesion of the color paste an organized fabric of the compositions.
Even if we are in the field of the imagination, the deep aspirations are always provocative, daring and their fulfillment implies the ability to defy the risks and the surprisingly difficult obstacles. The Ovidiu Buzec’s art is not pure philosophy because it itself is a self-contained organism and through the expressiveness, through the force of suggestion and through its own ideas it individualizes, gaining a colossal force of infiltration in the masses where it integrates in behaviors, mentalities and attitudes.
Delia Ioana Leizeriuc, Art critic, Suceava, 02.03.2018
Bio Ovidiu Buzec
Date and place of birth: 07.10.1954 – Siret, jud. Suceava, Romania
Studies: National University of Arts – Bucharest.
2013 – Salonul Anual de Arta – City Gallery – Suceava
2014 – Saloanele Astrei editia II – Sibiu
2014 – Bienala Ion Andreescu – Buzau
2014 – Salonul de toamna – “City Gallery” – Suceava
2014 – Expozitia “Anuala 2014” – Suceava
2015 – Expozitia “Locografii- Santorini”- “Elite Art Gallery” – Bucuresti.
2015 – Expozitia “Culoare-Forma-Expresie” – Galeria “Ion Irimescu” Suceava
2015 – Suceava – Salonul anual de arta
2015 – Expozitia personala de pictura “Alb de Bucovina” – Suceava
2015 – Expozitia “Inimi Unite “- Cernauti – Ucraina
2015 – Simpozionul International de Pictura si Desen – Iacobeni(jud. Suceava)
2015 – Tabara de creatie Balcic- Bulgaria
2015 – Expozitie de pictură “Balcic” – Galeria “Ion Irimescu” Suceava
2016 – Galeria Mediapole, Laval – Franta
2016 – Galeria Regala Sinaia – Expozitia 4+1
2016 – Simpozionul Național de Arte Plastice „Tazlău, izvoare de inspirație“, ediția I
2017 – Expozitia nationala “Desenul post Brâncuși” – Tg. Jiu
2017 – Simpozionul National de arte plastice “Victor Brauner” – Piatra Neamt.
2017 – Expozitia comuna româno-ucraineana- Muzeul de arta Cernauti – decembrie 2017
2017 – Bienala Nationala de arta plastică “Lascăr Vorel” – Piatra Neamt.
2018 – Expoziţia personală de pictură “Ecce Homo” – Suceava.