’’Avem nevoie de modele toată viaţa’’
Interviu cu scriitorul Constantin Ciopraga
Un chip frumos şi senin, de efigie clasică; o eleganţă şi o delicateţe de aristocrat al scrisului; o voce caldă şi tuşantă, cu o tonalitate domoală, de scriitură sadoveniană.
Aşa mi-l amintesc pe Maestrul Constantin Ciopraga, cel care a intervenit de câteva ori în destinul meu de creator în mod benefic, începând cu anul 1982, când s-a numărat printre membrii juriului concursului naţional de poezie al editurii ’’Junimea’’ din Iaşi, unde am debutat cu placheta ’’Duminica realului’’(1984).
Abia după 1990 am avut şansa de a ne întâlni de câteva ori la Fălticeni, la sărbătorirea Maestrului Ion Irimescu, dar şi la propria sa celebrare de la Colegiul Naţional ’’Nicu Gane’’, în mai 2001, la împlinirea vârstei de 85 de ani, când am realizat acest interviu. Tot în acelaşi an, în luna octombrie, am avut nesperata bucurie de a sta cu dânsul la un taifas mai îndelungat, împreună cu marele cărturar al Fălticenilor, Eugen Dimitriu, chiar în casa în care locuia de lângă mănăstirea Golia din Iaşi,. Stabilisem să ne întâlnim toţi trei pentru a-i aduce manuscrisul cărţii pe care o îngrijeam atunci, ’’Oraşul Muzelor’’ de Eugen Dimitriu, deoarece acceptase să semneze prefaţa.
Mi-au atras atunci atenţia miile de cărţi din biblioteca respectatului scriitor şi academician, dar şi frumoasele tablouri aparţinând unor artişti care intraseră de mult timp în istoria artei româneşti, în special un tulburător portret al gazdei noastre realizat de celebrul pictor Corneliu Baba. Nu pot uita nici momentul încărcat de emoţie al deschiderii cu grijă şi evlavie a unui vechi şi elegant stilou ’’Parker’’cu peniţă de aur, cel cu care prozatorul Liviu Rebreanu a scris câteva dintre renumitele sale romane.
– La sărbătorirea dvs. de la Colegiul Naţional ’’Nicu Gane’’ din Fălticeni, mulţi invitaţi au considerat că sunteţi un model în cultura română. Care este secretul dvs., ce drum ar trebui să urmeze tinerii intelectuali pentru a ajunge şi ei modele exemplare?
– Reţin din întrebarea dvs. ideea de model. Avem nevoie de modele toată viaţa. Indiferent de vârstă, chiar cineva ajuns la 70 de ani, are încă de învăţat. Viaţa este scurtă, iar arta, ştiinţa, cultura reprezintă domenii fără sfârşit. Cred că nu există o incompatibilitate între ideea de model şi aceea de personalitate, de individualitate. Reluăm, urmăm anumite sugestii sau linii de forţă, de la alţii care ne-au precedat şi care, în domeniul lor, s-au ilustrat. A prelua nu înseamnă a urma tale quale, a urma întocmai. Cine urmează întocmai, în litera sa modelul, este un epigon, dar a prelua, a regândi, a sistematiza şi a crea este altceva. Modele sunt în jurul nostru nenumărate, important însă este să ne punem în rezonanţă cu acel model care ni se potriveşte, de la care putem prelua anumite pulsiuni care să ne facă să ne descoperim noi înşine şi să aducem la lumină forme care să contribuie la progresul domeniului respectiv. Personal am avut ca prime modele pe câţiva dintre profesorii Liceului ’’Nicu Gane’’, actualul colegiu naţional, cărora le rămân în continuare îndatorat, în primul rând pentru că m-au făcut să mă descopăr mie însumi. În al doilea rând, fiindcă mi-au imprimat la o vârstă tânără, în adolescenţă, anumite forme de viaţă: cultul muncii, respectul pentru înaintaşi, şi mai ales mi-au imprimat o linie clasică, potrivită temperamentului meu.
’’Profund semnificativă rămâne în literatura română dimensiunea umană’’
– Aţi meditat ani de zile şi aţi scris despre ’’personalitatea literaturii române’’. Privind retrospectiv, aţi putea să reluaţi pentru cititorii noştri câteva linii de forţă ale literaturii române?
-Volumul acesta a apărut acum câţiva ani într-o nouă ediţie mult amplificată şi adusă la zi şi reprezintă o sinteză din punctul de vedere al specificităţii, al contribuţiei scriitorilor români la imaginea literaturii române ca ansamblu semnificativ, diferenţiat de alte literaturi. Din acest punct de vedere, ’’Personalitatea literaturii române’’ este o istorie generală a operelor literare produse în spaţiul românesc sau în alte spaţii, dar care se anexează culturii noastre. M-am oprit la scriitori foarte importanţi, la cei de primă mărime, pornind de la psalmii lui Dosoftei, trecând la Dimitrie Cantemir, un bun renascentist târziu, apoi la secolul al XIX-lea, care a dat figuri excepţionale, începând cu Eminescu şi completând viziunea sintetizatoare a veacului, respectiv cu Caragiale şi Creangă. La secolul al XX-lea privirile mele s-au oprit asupra unor creatori care ar putea onora orice mare şi veche literatură universală: Mihail Sadoveanu, Tudor Arghezi, Ion Barbu, George Bacovia, Hortensia Papadat-Bengescu şi Camil Petrescu, în noua ediţie introducându-l şi pe Vintilă Horia, care deşi a scris lucrări monumentale în alte limbi, în spaniolă sau franceză, rămâne un scriitor român reprezentativ. Intenţia mea a fost ca în această lucrare să se decanteze şi să prindă relief acele trăsături ale spiritului românesc care transpuse în literatură capătă semnificaţie durabilă. Am avut în vedere întâi legăturile cu spaţiul românesc, cu timpul istoric, şi am încercat o încadrare, o înseriere a literaturii române în raport cu alte literaturi ţinând seama de aşezarea noastră în această parte a Europei, în care Orientul şi Occidentul se întrepătrund. M-au preocupat şi formele existenţiale tipice, de pildă un capitol se referă la tragic, un altul la vibraţiile naturii în context românesc, toate acestea îmbinându-se într-o idee de ansamblu, idee care, din punctul meu de vedere, înscrie literatura română într-un spaţiu mai degrabă mediteranean decât nordic, mai degrabă clasic, de linişte, de ordine, de echilibru şi mai puţin în linie romantică, dând literaturii noastre o anumită personalitate. Am translat, am lărgit conceptul de personalitate de la persoana individuală, de la persoana umană de elită sau cel puţin deosebită, către o sumă de personalităţi în care elementele se echilibrează prin împrumuturi de la unii la alţii. Avem şi scriitori reflexivi, şi scriitori exuberanţi, şi scriitori clasicizanţi, moderni sau modernişti, toate aceste forme topindu-se în cele din urmă într-o imagine de ansamblu, care conferă literaturii române calitatea de literatură profund legată de viaţă. Istoria noastră are unele lacune, specialiştii noştri spun că s-au pierdut peste 90% din documentele de epocă. Literatura ne oferă în schimb imagini de ansamblu. Sadoveanu a făcut o incursiune în istorie începând cu secolul al VIII-lea, cu ’’Creanga de aur’’şi a ajuns până la războiul de independenţă din 1877 şi chiar până la primul război mondial. Ficţiunea întregeşte la el datele istorice incomplete. Acesta este rostul unei mari literaturi, să înlesnească pe cât posibil cunoaşterea generală şi cunoaşterea de sine. Suntem o literatură de semnificaţii realiste în primul rând, cu deschideri şi spre romantism şi spre alte curente, dar profund semnificativă rămâne în literatura română dimensiunea umană. Ca popor uneori suntem mai înclinaţi spre meditaţia gravă, dar şi deschişi spre orizonturi senine, şi în acest fel opera lui Creangă se întregeşte cu cea a lui Caragiale. Umoreşti şi unul şi altul, dar privind lucrurile din perspective diverse, iată-i definind specificul unui popor. Creangă, scriitor greu traductibil, ne-a oferit, după expresia lui Ibrăileanu, maximum de românism, fără nicio intenţie naţionalistă. S-a observat apoi că Eminescu nu poate fi preluat fără a-l raporta la Caragiale. Gravitatea, solemnitatea, patosul eminescian, au în contrapondere vorba de duh, privirea ageră, ironia, autoironia, adică acele dimensiuni care fac din semenul nostru un motiv de reflecţii sau un motiv de ironie.
’’Rămân profund marcat de modelele pe care le-am cunoscut în adolescenţă’’
– S-a vorbit mult despre miracolul cultural al Fălticenilor, târgul în care v-aţi format. Cum ar putea fi explicat acesta?
– Era atunci o perioadă de acumulări. Talentele au izbucnit după 1900. Dacă târgul de odinioară s-a constituit curând după pierderea Bucovinei, în 1775, valorile de primă mărime care s-au afirmat au apărut cam după vreo sută de ani.
Gimnaziul s-a înfiinţat în 1870 şi acest aşezământ şcolar a avut darul de a atrage intelectuali care au creat o atmosferă, au desenat o ambianţă şi au făcut să polarizeze în jurul acestei instituţii şi persoane din afara şcolilor din Fălticeni, între care se numără şi cea în care au învăţat Lovinescu şi Sadoveanu. Şcolile acestea au avut un rol formativ excepţional. Ideile nobile, sămânţa de bună calitate au căzut din fericire în teren fertil, adică receptivitatea locuitorilor acestei aşezări a fost pe măsura aşteptărilor celor care profesau în învăţământ. Cred că momentul în care Sadoveanu şi Lovinescu erau elevii acestui liceu, adică între 1892 şi 1896, era unul în care, aşa cum spunea Lovinescu, nu erau cititori foarte avizaţi. Lovinescu spune despre Sadoveanu şi Ion Dragoslav că erau singurii cititori. Era o exagerare conştientă, desigur că erau şi alţii care puteau aprecia valoarea unei cărţi, dar atmosfera realmente culturală a Fălticenilor este cea de după 1900, perioada în care Sadoveanu însuşi era modelul de productivitate excepţională, iar când mai tinerii Grigore Vasiliu-Birlic, Jules Cazaban, Anton Holban ş.a. au pornit la drum, la Fălticeni era deja un aer de deschidere spre marile culturi, o emulaţie care a făcut ca dintr-un târg modest, sub 10.000 de locuitori, să apară scriitori de dimensiuni europene. Nu ne gândim strict la Sadoveanu, ci mai degrabă la Eugen Lovinescu, care întors de la un doctorat pe care l-a trecut la Sorbona, avea o viziune europeană foarte sincronă asupra fenomenului literar. Mă gândesc de pildă la nepotul său de soră, Anton Holban, care se situa sub raportul artei literare în preajma celor mai moderni dintre prozatorii contemporani. Nu trebuie să ne raportăm doar la Camil Petrescu, Hortensia Papadat-Bengescu, ci şi la foarte tânărul Anton Holban, la care am remarcat proustianismul său. Productivitatea culturală, în speţă literară de aici, este realmente un miracol, aşa cum spuneaţi şi dvs. la început. Miracol, întrucât lucrurile acestea nu se petreceau într-un oraş cu 100.000 de locuitori, aşa cum avea Iaşiul în 1910. Alte oraşe mai mari decât Fălticenii, Bacău, Buzău sau Galaţi, nu produseseră până la apariţia lui Anton Holban (1905-1937), un etalon la data respectivă, un număr atât de mare de personalităţi culturale. Aceste oraşe erau orientate spre viaţa practică, spre bunurile materiale. Îmi amintesc că, într-un început de vară, un scriitor foarte popular cum era Ion Minulescu se pregătea să rostească o conferinţă la Bacău, şi toată lumea stătea la mese în grădinile de vară, iar sala în care trebuia să vorbească era goală. La Fălticeni, receptivitatea la cultură, la frumos, indiferent că era vorba de literatură, teatru sau pictură, a fost o formă de continuitate permanentă, fără goluri. Nu există determinante precise asupra unui moment de expansiune culturală, geniile, talentele mari se nasc potrivit unor legi imprecise, în perioadele sortite de cineva mai presus de noi, fapt pentru care există în domeniul creaţiei spirituale momente de plenitudine, de vârf şi de reflux. Momentul 1904, când Sadoveanu îşi publica primul volum la Bucureşti, reprezenta o etapă de început de flux la Fălticeni. Acelaşi moment caracteriza începuturile activităţii de critic literar ale lui Eugen Lovinescu, cel care a lăsat apoi câteva zeci de volume. În comparaţie cu acel moment, care ajungea la apogeu între cele două războaie, până prin 1935-1940, creativitatea de după al doilea război mondial a fost în scădere, a fost un moment de reflux, deşi au apărut Horia Lovinescu şi Vasile Lovinescu şi Nicolae Labiş, elemente pozitive, dar şi cantitativ şi calitativ, productivitatea de după cel de-al doilea război mondial n-a mai fost aşa de mare ca cea dinainte. Rămâne însă constatarea că spaţiul acesta cultural a fost un spaţiu privilegiat, deoarece în raport cu dimensiunea demografică a locului, Fălticenii au dat valori de primă mărime. Există cel puţin 50-60 de nume de rezonanţă regională şi cel puţin 15-20 de rezonanţă naţională, valori care îl situează în rândul oraşelor cu audienţă culturală excepţională. Nu pot ţine cumpănă oraşe ca Piteşti, Curtea de Argeş, Suceava, Focşani ş.a. Niciunul dintre acestea nu egalează productivitatea Fălticenilor, ceea ce iarăşi ne duce la ideea de miracol. Nu credem în miracole în sensul strict al termenului, dar ceva ieşit din comun există totuşi. Este un motiv de mândrie pentru fălticeneni, un privilegiu pentru cei care s-au născut şi s-au format aici, printre care mă număr şi eu, şi rămân profund marcat de modelele pe care le-am cunoscut în adolescenţă, modele pe care le admir în continuare, fără de care destinul meu spiritual ar fi fost altul. Sunt suficiente motive să rămân legat afectiv şi raţional de Colegiul Naţional ’’Nicu Gane’’, de amintirea locurilor de odinioară, şi fac încă o dată menţiunea că orice întâlnire a mea cu climatul acesta este profund benefică. Mă simt refăcut, mă simt întotdeauna regenerat de contactele cu aerul de aici, cu lumea de aici, care este o lume aşezată într-o durată. Fălticenenii pur-sânge au, după părerea mea, un pliu, o notă caracteristică ţinând de anumite constante spirituale de nuanţă clasică. Iată elemente despre un oraş având şi astăzi dimensiuni mici, dar care şi-a creat o mitologie de spaţiu productiv, în baza căreia generaţiile care se succed pot porni la drum cu încrederea că ar putea deveni continuatori.
Constantin SEVERIN (’’Monitorul de Suceava, An VII, Nr. 135, sâmbătă, 9 iunie 2001)
A Young British Artist Reinvented Figurative Painting
”Plan”, oil on canvas, 274×213,5 cm, 1993
Human perception of the body is so acute and knowledgeable that the
smallest hint of a body can trigger recognition.
—Jenny Saville
In her depictions of the human form, Jenny Saville transcends the boundaries of both classical figuration and modern abstraction. Oil paint, applied in heavy layers, becomes as visceral as flesh itself, each painted mark maintaining a supple, mobile life of its own. As Saville pushes, smears, and scrapes the pigment over her large-scale canvases, the distinctions between living, breathing bodies and their painted representations begin to collapse.
Born in 1970 in Cambridge, England, Saville attended the Glasgow School of Art from 1988 to 1992, spending a term at the University of Cincinnati in 1991. Her studies focused her interest in “imperfections” of flesh, with all of its societal implications and taboos. Saville had been captivated with these details since she was a child; she has spoken of seeing the work of Titian and Tintoretto on trips with her uncle, and of observing the way that her piano teacher’s two breasts—squished together in her shirt—became one large mass. While on a fellowship in Connecticut in 1994, Saville was able to observe a New York City plastic surgeon at work. Studying the reconstruction of human flesh was formative in her perception of the body—its resilience, as well as its fragility. Her time with the surgeon fueled her examination into the seemingly infinite ways that flesh is transformed and disfigured. She explored medical pathologies; viewed cadavers in the morgue; examined animals and meat; studied classical and Renaissance sculpture; and observed intertwined couples, mothers with their children, individuals whose bodies challenge gender dichotomies, and more.
A member of the Young British Artists (YBAs), the loose group of painters and sculptors who came to prominence in the late 1980s and early 1990s, Saville reinvigorated contemporary figurative painting by challenging the limits of the genre and raising questions about society’s perception of the body and its potential. Though forward-looking, her work reveals a deep awareness, both intellectual and sensory, of how the body has been represented over time and across cultures—from antique and Hindu sculpture, to Renaissance drawing and painting, to the work of modern artists such as Henri Matisse, Willem de Kooning, and Pablo Picasso. In the striking faces, jumbled limbs, and tumbling folds of her paintings, one may perceive echoes of Titian’s Venus of Urbino (c. 1532), Rubens’s Christ in the Descent from the Cross (1612–14), Manet’s Olympia(1863), and faces and bodies culled from magazines and tabloid newspapers. Saville’s paintings refuse to fit smoothly into an historical arc; instead, each body comes forward, autonomous, voluminous, and always refusing to hide.
(Gagosian Gallery)
Women in Rural India by Rana Jabeen
A Return to Soul
The Indian visual artist/photographer and globetrotter Rana Jabeen is one of the staff members of the World’s Best Photographers and Artists Group. Blessed with a fresh eye and a cutting edge art of composition, she became famous for her Cityscapes and Travel series of photos.
Made from unexpected and inspired angles, rich in beautiful colours at the level of a fairy tale, every image signed by Rana Jabeen is a Return to Soul and a challenge to our inner life, through a clear purpose to search and share the Beauty of the world. Her photos from the series Women in Rural India, featured here, are also moving and close to the Expressionist art.
Constantin Severin
Artist Statement
Born & brought up in Mumbai, India , I am a dental surgeon by profession and a photographer by passion.
I started photography in 2014. It has been a short but very beautiful journey. Being blessed with 2 sons , it is quite a hectic and crazy time as well ! But busy schedules have always kept me motivated and energetic .
In the past 3-4 years I developed an interest in photography which turned into a passion and now a full-time new profession.
My favourite genre of photography is Cityscapes and Travel . I travel a lot and love to capture different places.
My Photography work links are :
”Narada”, oil on linen, 100×130 cm, 2016
A Methaphysical Search of the Self
Profoundness and singularity are probably the main art’s pillars of the Russian born British painter Arina Gordienko, one of the best of our time. She is known as a cutting edge creator and promoter of the Beauty and of Light of the human being, in a world terrified by disasters and the aesthetics of ugliness.
Using the ‘’sfumato’’ technique of Old Masters and a personal palette based on a few light colours and a dominant red (this colour is assimilated to the Beauty in the Russian tradition) to compose and build unique Self-Portraits transformed into timeless archetypes of the Beauty, Arina is always in a methaphysical search of the Self, a magical ritual to penetrate the Hierarchy of Light and to offer us an art rich in emotions and feelings.
Constantin Severin
”We’ve been here before”, oil-on-linen, 100x120cm, 2018.
November 7, 2018
Artist Statement
My style can be described as Imaginative Realism or Surrealism. It is quite a surreal combination of imaginative compositions and colours in my paintings – monochromatic figures surrounded by the red fabric. The images on my works are positioned in a surreal environment, in a middle of nowhere without any recognizable signs of any given time or place, or any other particular characteristics. Anything can be imagined behind the images on my paintings, any centuries, countries (real or surreal), any eye, or skin or hair colours or no hair at all. The monochrome palette helps me to bring certain anonymity to the image. My paintings are full of symbols helping me to convey my philosophy into my work. I would like to consider my work as performance of a human’s spirit movement that is going through awareness of sacred knowledge and trying to accomplish an ancient wisdom.
The colour red in my works has, from my very childhood, a deep meaning for me. In Russian language, particularly in folk’s fairy tales, the word ‘red’ has an equal meaning to the word ‘beautiful’. One of the best known Russian writers Fyodor Dostoevsky said ‘Beauty will save the World’, so I believe that in my works I transform my perception of the ‘red’ as ‘beautiful’ into a symbol of ‘saving the world’. Also, according to Tibetan philosophy, the colour red is a symbol of connection with the Universe, with everyone and everything at all levels of the entire world. Purpose of art is keeping the world in balance and harmony. It’s an honour, but also a huge responsibility to be an artist and all the artists are responsible for every single brush stroke we produce, for what we are bringing to the world within our creativity, I believe that images and objects created with passion can take an immense power, a powerful energy that can alter one’s mental state and even transform reality. We all create the world around us, and the more positive and beautiful art objects created today, the better will be the world to live in tomorrow.
Beauty will Save the World and Art is this powerful tool to bring the Beauty to the World – to save it.
”Apocrypha-of-Arina”-1_diptych-part-of-series_oil-on-canvas-100x130cm_2013-2017
Bio Arina Gordienko
Based in the UK Arina Gordienko is an internationally acclaimed artist often known as ‘ARINA’. She is awarded with the ‘Associate Living Master’ Status by prestigious Art Renewal Center (ARC) in USA and is recognized with more than 40 international prizes and awards in the UK, USA, Europe and Australia. Her paintings featured at venues such as Saatchi Gallery in London, Museum of Fantastic Art in Vienna, Museum of Modern Art Vittoria Colonna in Italy, Museum Complex of Dioscuri in Rome, Museum Sant’Oreste in Rome, Mall Galleries in London, Venice Arsenale in Venice and many others in the UK, USA, Australia, Italy, Austria, Switzerland, Luxembourg, France, Germany, Check Republic, Belgium and India. She participated in events in London, Berlin, Milan, Buenos-Aires, San Francisco, Dallas, Moscow and Beijing. Her works are in private collections worldwide including ARC Museum, USA and OSTEN Museum of Drawing, Macedonia. Her works featured in numerous publications including Reinhard Fuchs’ book ‘Masterpieces of Visual Arts – The Great Female Artists from the Middle Ages to the Modern Era’ alongside works of Frida Kahlo, Georgia O’Keeffe, Bridget Riley etc., ‘Masters of Contemporary Fine Art’ in the UK, ‘Masters of Painting’ in the UK, ‘Strokes of Genius -4’ and ‘Strokes of Genius-6’ in USA. She graduated with Master’s Degree in Fine Arts at Chelsea College of Art and studied at Central Saint Martins College of Art, University of the Arts London, UK. She is a selected member of Society of Women Artists in the UK, Portrait Society of America and Art Renewal Centre in USA.
ARINA is passionately dedicated to renaissance of the realistic traditions in painting and widely proclaims revival of beauty in art. In her work she uses the old Masters classic ‘sfumato’ technique with her own contemporary essence. She developed her own significant and highly recognisable style, combining traditional classical techniques with surreal imaginative compositions and contemporary palette.
”Shard-of-Time”, oil-on-linen, 92-x-122cm,2012.
Affiliations
The Art Renewal Centre (ARC) USA
The Portrait Society of America (PSA) USA
The Society of Women Artists (SWA) UK
Representation
Gall’Art Roma Art Agency (Founder Giovanna Gazzolo), Rome, Italy
Recognition & Awards
2018 – Finalist, 13 International ARC Salon Competition, Art Renewal Center, USA
2017 – Finalist, 12 International ARC Salon Competition, Art Renewal Center, USA
2016 – Awarded ‘Associate Living Master’ status by Art Renewal Centre (ARC) in USA, Works included to the ARC Museum
2016 – Winner of Major 2nd Place Award, Berliner Art Prize, Germany
2016 – Honorary Diploma for ‘bright and remarkable contribution in the conservation and development of the artistic values in Modern Art’, Berliner Art Prize, Germany
2016 – Finalist, Portrait Society of America Only Members Competition, USA
2016 – Finalist, The Artist’s Magazine 33 Annual Art Competition, Portraits/Figures category, USA
2015 – Winner, ‘Strokes of Genius-7’ (out of over 2000 entries) International Drawing Competition, USA
2014 – Winner, 3d Place Award, ‘Outside the Box’, Portrait Society of America Members Only Competition, USA
2014 – Finalist, Art Gemini Prize, Painting category, London, UK
2014 – Finalist, BEEP International Painting Prize Biennial, Swansea, Wales, UK
2014 – Finalist, Connfuence’14 Art Contest, Gallery Art Eterne, New Deli, India
2013 – Finalist, Mortimore Art Prize, Surrealism Category, Australia
2013 – Winner, Award of Excellence, Lisa Cooper Elisa Contemporary Art Gallery Award, New York, USA
2013 – Winner, Award of Excellence, Renée Phillips Art Essay Award, New York, USA
2013 – Gold Award Winner, Master of Art International, Awards Ceremony, Mile End Art Pavilion, London, UK
2013 – Winner, 8 Showcase ARTslant Prize, Painting Category, International Juried Competition
2013 – Show Award Certificate, IAF 2013, International Art Festival, New York, USA
2012 – Special Award, OSTEN 40 World Gallery and Museum of Drawing Biennal, Skopje, Macedonia. Grand Prix for Life Achievement awarded to a legendary artist CHRISTO (USA), alongside with First Award for Concept to Vitaly Komar (USA), Award for World Cultural Heritage to Pablo Picasso. Works of winning artists included to OSTEN Museum of Drawing
2012 – 2-nd Merit Award, Portrait Society of America Members Competition, ‘Outside the Box’ category, USA
2012 – 4-th Merit Award, Portrait Society of America Members Competition, ‘Self-Portrait’ category, USA
2011 – Winner, 2-nd Prize at ‘Is it Fine Art? Challenging Traditions’, Pen and Brush Gallery, New York, USA
2011 – Winner, ‘Strokes of Genius-4’ (out of 1650 entries), International Drawing Competition, USA
2010 – Finalist (Top 10 out of over 3750 entries), Art of Giving National Art Competition, SAATCHI GALLERY, London, UK
‘Silence, Opus 3’ and ‘N I B I R U’ selected by a panel that included Gavin Turk, Christian Furr, Terry O’Neill and representatives from the Tate, Frieze, Scream and FAS London
2010 – Finalist, Arte Laguna Art Prize, Venice Arsenale, Venice, Italy
2010 – The Best Foreign Artist Mention, Arte Laguna Art Prize, Venice Arsenale, Italy
2010 – Special Prize Gagliardi Art Gallery, Arte Laguna Art Prize, Venice Arsenale, Italy
2010 – Special Prize Fiorella Pieri Contemporary Art Gallery, Arte Laguna Art Prize, Venice Arsenale, Italy
2010 – Winner, Trophy Award (Top 15 out of 5000 entries, 95 countries), London International Creative Competition, UK. ‘Wide Shut Eyes’ series awarded a Trophy by International Panel of 12 Judges at Award Ceremony, Soho Theatre, London
2010 – Winner, Best of 2010, People/Today Life category, Marziart International Gallery, Hamburg, Germany
2010 – Winner, EXPO-29 International Painting Competition, B.J.Spoke gallery, New York, USA. Juried by Cornelia Seckel, publisher ’The Art Times’
2010 – Winner, 6 Showcase ARTslant Prize, Painting Category, International Juried Competition
2010 – Finalist, Grant – ARTWORK International, Inc., Painting category, USA
2009 – Shortlisted (top 100 out of 1900 entries), BP Portrait Award, National Portrait Gallery, UK. ‘Silence, Opus 3’ has been through the second round of selection for BP Portrait Award at the National Portrait Gallery among 100 works, out of which the judges make their very final selection of 56 paintings for the exhibition.
2009 – Winner, MFA Now Award, International Painting Competition, Miami/New York, USA
International panel of judges included Kay Saatchi, Edward Lucie-Smith, Judy Chicago, John Miley, Victoria Lu
2009 – Winner, 1st Place Award Full Brush International Competition, New York, USA. Pen and Brush Gallery. Juried and awarded by Margaret Kelly Trombly, President of the Forbes Art Collection
2009 – Winner, 2nd Prize (out of 14.000), Portrait/Figure, The Artist’s Magazine, USA
2009 – Face of ‘Art Liberating Lives’ National British Charity ‘Sue Ryder Care’, UK
Award winning painting ‘Silence, Opus 1’ by ARINA was chosen as Face of National British Charity Campaign
2009 – Finalist, Annual Painting Prize FRINGEMK, Milton Keynes, UK
2008, September – Legendary Artist GUSTAV METZGER visited ARINA’s MA Final Degree Show and purchased ‘Wide Shut Eyes-2’, painting, oi on linen, 165×190 cm. Gustav Metzger and ARINA were talking almost three hours and after their inspiring conversation Master purchased the painting. Gustav Metzger prefers to keep his painting at ARINA’s studio.
2008 – Winner, Anthony J. Lester Art Critic Award, SWA Annual exhibition, Mall Galleries, London, UK. Prize awarded by Lady Gabriella Windsor, daughter of Her Royal Highness Princess Michael of Kent
2008 – Winner, 1st Prize (Out of 14.000) Portrait/Figure Students category, The Artist’s Magazine, USA
2008 – Winner, Public Choice Prize, National Open Art Competition, UK. Awarded by Kay Austin, the Arts Club, London
2008 – Winner, Visitor’s Choice Award, Cork Street Art Competition, London, UK
2008 – Shortlisted (Top 100), (top 100 out of 1650 entries), BP Portrait Award, National Portrait Gallery, UK. Painting ‘Angel, Portrait of Angelica’ has been through the second round of selection for BP Portrait Award at the National Portrait Gallery among 100 works, out of which the judges made their very final selection of 55 paintings for the exhibition.
2008 – Shortlisted (Top 5 out of 1500 entries) Brenda Landon Pye Portrait Prize, London, UK
”Silence-Opus-3”, oil-on-linen, 110-x-145-cm, 2009.
”Renaissance-as-Augury”, 1_part-of-series, oil-on-linen, 92-x-122-cm, 2010
Exhibitions (selected)
2017 – ‘Art For a Little Brave Heart’ Fund-raising Exhibition for Charity ‘Gift of Life, Rossotrudnichsetvo, London
2017 – MAG Montreux Art Gallery, Switzerland, FIRST MAG Visionary Art Exhibition, with HR Giger, Ernst Fuchs, De Es Schwertberger, Martina Hoffmann, Brigid Marlin, Roku Sasaki
2017 – Mall Galleries – London, UK. SWA Annual Exhibition. Opened by SWA Patron Her Royal Highness Princess Michael of Kent. Also – 2016, 2015, 2014, 2013, 2012, 2011, 2010, 2009, 2008.
2017 – LuxArt Contemporary and Modern Art, Luxembourg
2017 – Arte Genova, Exhibition of Modern and Contemporary Art, Genova, Italy, also 2016, 2015
2016 – Museum of Modern Art Vittoria Colonna, Biennale PESCAART, with Gall’Art Roma Gallery, Italy
2015 – Phantastishe Venus Biennale, Surrealism Art of 70 Women Artists, curated by Reinhard Schmid, Viechtag, Germany
2015 – ITINERA Exhibition of Contemporary Art, Museum Complex of Dioscuri, Rome, Italy. Curated by Giovanna Gazzolo, Gall’Art Roma, with support of Cultural Attaché of Russian Embassy and Spanish Embassy
2014 – BEEP International Painting Prize Biennial, Old Iceland Building/Elysium Gallery, Swansea, Wales, UK
2014 – Master of Art International, Margarita Feaks Gallery. Participated as an Invited Guest and Gold Award Winner of the Master of Art International-2013
2014 – Gemini Art Prize exhibition, Rebecca Cossack Gallery, London, UK
2014 – Connfuence’14 Art Contest, Gallery Art Eterne, New Deli, India
2013-2014 – Mortimore Art Prize – The very best in Realism, Exhibition touring around Australia, Venues include The Scots College Anderson Hall in Sydney, St Brigids Hall in Dubbo, The Stables Gallery in Mudgee, Kinross Wolaroi School in Orange, BDAS Gallery in Bowral, Dudley House in Bendigo and others in Brisbane, Geelong, Canberra and Central Coast
2013 – SOLO-Exhibition ‘ ARINA-The Theatre Of One Artist’, 20th Century Theatre, London, UK, April
2013 – Master of Art International Exhibition, The Art Pavilion Gallery, London, UK
2013 – Exhibition of Awarded Artists on World Gallery of Drawing, Gallery of Art Critics (Adria Palace), Prague
2013 – Museum Sant’Oreste, Rome, Italy, International Exhibition of Contemporary Art, Gall’Art Roma
2013 – The Peace Project, International Art Exhibition touring around the USA. Venues include Affair of the Arts and The Whole 9 Gallery in Culver City, California; Art Zone 461 in San Francisco, California; 29 Pieces in Dallas, Texas; Open House and Landmark Arts Building in Chelsea, New York
2013 – A Single Grain of Rice International Exhibition, Gallery Métanoïa, Paris, France
2013 – ‘Art That Lifts Our Spirits’, Manhattan Arts International, New York, USA
2013 – The Femail Project Exhibition, ARTicle Gallery, Birmingham, UK
2013 – Stars with Stars, Gall’Art Roma Gallery, Bacco in Tevere, Rome, Italy
2013 – ‘After the Monet’ group exhibition, Coningsby Gallery, London, UK
2013 – Touch of Women, International exhibition, Off the Wall Gallery, Wales, UK
2012 – Museum of Fantastic Art, Vienna, Austria, Uncommon Vision, curated by Prof. Philip Rubinov-Jacobson
2012 – Mall Galleries, London, UK, ‘Show me the Monet’ exhibition of BBC2 series
2012 – BEEP International Painting Prize, Elysium Gallery, Volcano Theatre, Wales, UK
2012 – OSTEN Award Biennial, 40 Gallery and Museum of Drawing, Skopje, Macedonia
2012 – Price Winners Show of Cork Street Open Exhibitions, Cork Street Gallery, London, UK
2012 – SOHO20 Gallery, New York, USA, ‘Backlash’ exhibition on women’s rights
2011 – The Passion for Freedom Art Festival, UNIT24 Gallery, London, UK
2011 – Pen and Brush Gallery, New York, USA, ‘Is it Fine Art? – Exhibition Challenging Traditions’, curated by gallerist and auctioneer Kenneth Hutter and auction appraiser Jennifer Elhardt
2011 – Pen and Brush Gallery, New York, USA, Award Winners Artists
2011 – Marseille Project Gallery, Marseille, France, curated by artist, gallerist, art-critic Lira Kay
2010 – SAATCHI GALLERY, London, UK, ‘Art of Giving’, with Banksy, Gavin Turk, Mark Wallinger, Terry O’Neill, Sir Peter Blake, Steve Goddard, Leonardo Drew, Christian Furr, Alexa Meade, Breezy Bailey, Zak Ove
2010 – ‘Arte Laguna’ Art Prize International Exhibition, Venice Arsenale, Venice, Italy
2010 – ‘Legende Celebrity Art in collaboration with Art of Giving’, Mayfair Gallery, London, UK, with world famous artists and photographers Gerard Mankowitz, Terry O’Neill, Danny Clifford, Allan Warren, Gavin Turk etc.
2010 – B.J.Spoke Gallery, USA, New York, EXPO-2010, juried by Cornelia Seckel, publisher The Art Times
2010 – Cork Street Gallery, London, UK, Open Art Competition, juried by Edward Lucy-Smith, also – 2009, 2008
2010 – Marziart International Gallery, Hamburg, Germany, ‘Best of 2010’ International Exhibition
2010 – Art Liberating Lives, Mall Galleries, London, UK, also – 2009, 2008
2010 – Marseille Project Gallery, Marseille, France, ‘Artist’s Portrait Futureproof’ International Exhibition
2010 – Occidental Dimension, Brighton University Gallery, Brighton, UK, touring show staged in three cities across China
2010 – The National Open Art Competition, National Festival Theatre, Chichester, UK, Judges headed by Gavin Turk, also – 2008
2009 – Pen and Brush Gallery, New York, USA, ‘Fall Brush’ curated by Margaret Kelly Trombly, the Forbes Collection President
2009 – ‘MFA Now’ Award Winner’s Exhibition, Praxis Art International Gallery, Miami, USA, juried by the international panel of judges, including Kay Saatchi, Edward Lucie-Smith and Judy Chicago
2009 – Brick Lane Bodhi Gallery, London, UK, Condensation – The Temperature is Rising, also – 2008
2008 – The First Biennial RBSA Open Portrait Award, The RBSA Gallery, Birmingham, UK
2008 – Exhibition of Prize Winners of National Open Art Competition, The Art Club, Dover Street, London, UK
2008 – Brenda Landon Pye Portrait Prize, London, UK, Red Room Gallery, Chelsea College of Art, London, UK
2008 – MA Fine Art Final Degree Show, London, UK, Chelsea College of Art and Design
2008 – MA Fine Art Chelsea Interim Show, London, UK, ‘Nearly Me, Nearly Now, Nearly Show’, Triangle Space
2008 – Marseille Project Gallery, Marseille, France, ‘Housewarming’ International Exhibition
2007 – XHIBIT-07 winners show, The Arts Gallery, Davies Street, London, UK, winners selected by Tom Hunter
2006 – Lethaby Gallery, London , UK, LANDMARKS, Central Saint Martins College of Art
1985-1993 – Variety of exhibitions in Russia including Regional Exhibitions at the State Art Museum of Zauralie
”Renaissance-as-Augury”, 4_oil-on-linen,_92-x-122-cm, 2012
Arina Gordienko, ARC Associate Living Master, MA, SWA, PSA
Website: http://www.arina-art.com
FB Page: http://www.facebook.com/ARINA.Art.OfficialPage
Twitter: https://twitter.com/arina_theartist
LinkedIn: ARINA Gordienko, MA, ARC, SWA, PSA
YouTube: http://www.youtube.com/user/ARINAtheARTIST
Instagram: @arina_gordienko_art
E-mail: arina@arina-art.com
Phone: +44 7783597928
Arina Gordienko in her studio
”Angel’s Garden”-oil-on-canvas-120×100-cm-2018
Bio Camelia Rusu Sadovei
Born on 11th of May, in 1965, in the city of Suceava, graduate of the Bucharest ”Nicolae Grigorescu” Plastic Arts Institute, the class of Vasile Grigore professor, 1989 class.
”Alegory”-oil-on-canvas-50×70-cm-2017
ARTISTIC ACTIVITY
Personal exhibitions
• 1988- Suceava, Municipal Theatre
• 1992- Suceava, Art Galleries
• 1996-Vienna- “Aula Romaniae” Cultural Center
• 1997- Suceava-Natural Science Museum -pastel
• 1998- Municipal Hospital of Suceava
• 1997-1998 – The monumental decorative Ensemble- Children’s Welcome Center
• 1999- The Asirag Galleries -Suceava
• 2002- Suceava- Natural Science Museum
• 2003- “Alice” House-Suceava
• 2009- City Gallery- Suceava
• 2012- “Ion Irimescu” Galleries Suceava
• 2014- “Ion Irimescu” Galleries Suceava
• 2017- “Ion Irimescu” Galleries Suceava
”Nicolae Tonitza” Gallery, Iassy
• 2018- Bucovina History Museum – Suceava
”Golden Apples”-oil-on-canvas-60×70-cm-2012
Abroad exhibitions
• 1989 – Canada- The Miniature Triennal
• 1993 – Kishinev – Moldavian exhibitions
• 1994 – France, Maison du Champalud
• 1996 – Drawing Triennal from Majdanek-Polonia
– Miniature Biennal from Rudnik- Slovacia
• 1998-SUA, Know,Herillville,Chicago, Cornerstone, Misshewalla
• 2001-Finland, Ripustus Taidegalleria
• 2004-France, Saint Laurent du Pont, monumental work , in the French- Romanian bilateral
”Prude’s Jays”-oil-on-canvas-100×80-cm-2017
Cultural exchange
• 2005 – France, International exhibition “Rendez vous des Artistes”-Saint Joseph de Riviere
• 2006 – France, Grenoble, collective exhibition
• 2007-Hochstadt- Germany,”Bucovina’s treasures”- International cultural project
• 2007-2015- Artistic dialogues- Moldavian exhibitions- Cultural exchange periodicals, Suceava -Kishinev
• 2016 – Artistic bilateral cultural project – Laval, France- Suceava, Romania
”The Song”-oil-on-canvas-120×100-cm-2018
Collective exhibitions
• 1989-Youth Festival – Târgu Mureş
-Autumn Exhibition – Focşani
-Youth Exhibition – Bucharest, The ”Ion Mincu” Architecture Institute Galleries
• 1990-2008 A- “Annual Exhibition”, The Professional Visual Artists Gallery
• 1991-Group 22- Suceava
• 1997-Art exhibition -Botoşani
-Summer exhibition -Suceava
-Piatra Neamţ- “Lascăr Vorel” Painting Contest
• 1990-2001- Festival Contest “Voroneţiana”
• 1993, 1994, 1996, 2003,2004, – Moldavian exhibitions, Bacău- Kishinev
• 2005, 2006-Rădăuţi Art Galleries -Suceava
• 2006- Prefecture of Suceava
• 2007, 2009, 2012- Piatra Neamţ-“Lascăr Vorel” Painting Contest
• 2007-2010 Suceava Townhall, “Days of Suceava”
• 2007-2012- “Annual Exhibition”, The Professional Visual Artists „ Ion Irimescu” Gallery
– The Professional Visual Artists Exhibition Suceava- City Gallery –Suceava
-Humanum Lux- „ Ion Irimescu” Art Gallery Suceava
• 2010 – Suceava Townhall, “Days of Suceava”
– Contemporary Art Fair- Shopping City, Suceava
– “Annual Exhibition”, The Professional Visual Artists – City Gallery Suceava
• 2011-Visual Artists Professors Exhibition- Iaşi- Dana Gallery
– A.R.T.E. Symposium Exhibition, WTC Galleries, Iassy
-February Identities – Plastic Art International Galleries – „Ion Neagoe” Art Galleries –
C.C.D. Iassy
– Armonii de Primăvară- Galeria de Artă a Consiliului Judeţean Suceava
– Salonul de vară, Shopping City, Suceava
• 2012- Participation in the scientific session and exhibition of the International Festival “Art and Tradition in Europe”- Iassy – Suceava
• 2013- 2012 Annual – City Gallery- Suceava
– ”Real and Imaginary”- City Gallery- Suceava
• 2014- 2013 Annual – City Gallery – Suceava
International Symposium A.R.T.E. Iassy, 2014
• 2015- ”Contemporary Attitudes” International Symposium Slobozia
-”Lascăr Vorel” Plastic Art National Biennal 2015
– Călineşti Painting Camp Exhibition- 2014 and Suceviţa -2015, Natural Science Museum,–Suceava.
– ”Minority History” Painting Exhibition, UAPR Branch Iassy and Suceava- The Center for the support of Bukovina traditions
• 2016-”Nicolae Tonitza” Contemporary Art National Biennal –” Vasile Pârvan” Museum of Bârlad, First Edition
– “Annual Exhibition”, The Professional Visual Artists- Suceava,”Ion Irimescu” Art Galleries
• 2017- Spring exhibition – UAP Suceava-”Ion Irimescu” Art Galleries
”Veronika”-oil-on-canvas-100x-70-cm-2017
Awards and distinctions
• 1990- 4th place – Festival Contest “Voroneţiana”
• 1993- Second Prize –Art and Culture Committee – Suceava
• 1996- Second Prize – Festival Contest “Voroneţiana”
• 2001- Second Prize – Festival Contest “Voroneţiana”
• 2006- Excelency Diploma- Lions Foundation – Suceava
• 2007- Excelency Diploma – County Scholar Inspectorate – for the artistic professoral activity
• 2011- Honorary Diploma to the scientific session and ”Art and Tradition in Europe”
International Festival ,A.R.T.E.”- Iaşi-Suceava, ediţia I
• 2011- Special Award to the ”Art and Tradition in Europe” International Festival ,A.R.T.E.”, first edition.
• 2012- Diploma of merit – for prestigious contributions for the cultural and spiritual revigoration of Bucovina, Suceava County Council
• 2016- Excelency Diploma for extraordinary results in the didactics career in the ”Ciprian Porumbescu” Art College
”Autumn”-oil-on-canvas-60×60-cm-2012
Creation camps
• 1995-International Creation Camp – Câmpulung Moldovenesc
• 2005-International Creation Camp – Vatra Dornei
• 2013-National Creation Camp – Pătrăuţi- Suceava
• 2014-National Creation Camp – Călineşti- Suceava
• 2015-National Creation Camp – Suceviţa- Suceava
• 2016-National Creation Camp – Cacica- Suceava
• 2017-National Creation Camp – Vama – Suceava
”Spring”-oil-on-canvas-60×60-cm-2012
Appearances in art albums and dictionaries
• ”Bucovina, cultural scientific contributions” dictionary IX, Emil Satco 1992;
• “Encyclopedia of Bucovina” vol.2 , Emil Satco 1999;
• “A century of beautiful arts in Bucovina”, Valentin Ciucă, 2006
• “Unknown Europe- treasures in Bukovina” bilingual edition, project co-financed and financed by the Bucovina Museum Complex, Suceava County Council, with the financial support of the Ministry of Culture and Cults;
• Illustrator of: – ” Literary Bukovina ” Magazine, 7-12, July – Dec.1996 – The “Scriptum”
-Magazine, Year XX, Nr. 3-4 / 2014, edited by “I.G. Sbiera “Bukovina Library Suceava
-The volume of poetry “Fallen Ink”, Ion Paranici, Ed.Junimea, Iasi, 2007
-”The world around us”, Ion Paranici, Muşatinii, Suceava, 2007
-The volume “The world’s most treasured treasure” and the volume “The world’s most treasured treasure for dwarves: a practical remedy for a happier life in children (6-9 years) “, G.Tofan Publishing House, Suceava, 2010, by Mihail Coşman
-The volume “From what they were”, Ion Paranici, Muşatinii, Suceava, 2013
”Summer”-oil-on-canvas-60×60-cm-2012
Camelia Rusu Sadovei
Personal artworks: can be found in private collections and of state in Romania, Japan,Austria, France, Spain, Germany, Italy, Canada, USA.
Address:
Suceava, Romania
Nicolae Bălcescu street, no. 8, C, app.14
720001
Mobile Phone: 0727395006
E-mail: cameliarususadovei@yahoo.com
My name is Paolo Lazzarotti, I’ m 43 and I’ m lucky enough to live in a small
village very close to some of the finest italian places like Cinque Terre
National Park, Gulf of the Poets, Tuscan countryside and a wild coast line where
I took some of my finest and awarded sea shots.
I moved my very first steps in Photography when I was 19 with a compact film
camera given by my father. I loved this gift a lot and I’ ve started to look at
the world around me in a different way.
I learned everything by myself without reading any book or attending at any
course. I did spend most of my time in understanding my errors and trying not
have more in the future. I was aware this was certainly the most time consuming
way to improve my own skills, but right now I realized this was the best way to
develop my own genuine style.
My favourite subjects were landscapes, sunsets and all the things strictly
related to Nature. Well, I can fairly state I love Nature in all its forms even
now, expecially when she reveals to me her majestic strenght making me feel a
stupid thing against her.
Along the last 2 years I just wanted to shoot something else, more specific,
focusing my attention to seascapes to have some fresh stimulus to feed my
passion. And I discovered an amazing and unexpected love with sea storms,
taking some risk most of the times I get exposured to the huge waves and rain.
But this acts as a drug to me, I just can do without it any time a storm is
threatening my area!
On the other side, I’ m also loving female portraiture lately, something completely
different from sea storms yes, I’ m crazy enough to make two different worlds
living together in full harmony in my soul! I love woman talking about sensuality
and passion, I do rarely look for beautiful women just posing in front of me in a
static way. My women have to speak aloud to me, whatever they have to say.
Glamour and Boudoir are my favourite choice and seduction must be the real
subject of the scene, not the woman. Implied nude is also quite something to me
to put a beatiful body nicely on evidence and leave something to the imagination.
At any rate, whatever I shoot, I put all my passion in regardless of the
subject. I couldn’ t take a click for something not completely inspiring me.
That’ s the way I move my steps into Photography.
Paolo Lazzarotti
Portfolio: http://www.paololazzarotti.photo
Pagina FB: https://www.facebook.com/paololazzarottiphoto/
Email: info@paololazzarotti.photo
