CRITICAL REVIEW


          States and reflections in volume, form and colour

          Constantin Platon is an artist of the visual comfort. From what he has imagined until the present moment, as a shape articulated in space, nothing deviates from this rule he imposed as a final aim of his approach. In a way, this affinity for the subjective plastic discourse, traversed by a lyrical shiver, often imagining a universe of the intimist mythology (his well-known series of allegories, conceived around a domestic character invested with sacred attributes - Măriuca), places him in the oneiric realism category. However, "the world as a dream" seems to be for Constantin Platon the favourite refuge for the contemplative artist that he considers himself to be. The expressionist contraction or the metaphysical despair do not trouble his being that is continuously searching for clear forms and logical connexions, that come naturally in the existential ambient that he built. Sometimes he insinuatingly and ironically works with symbols extracted from the canvas of contemporary neurosis (The Precious Ridicule) converted into volumes and suggestive plastic attitudes, to the extent of the polemical thrill that he wants to transmit the viewer.
          There are also very interesting the sculptor’s attempts to configure in a personal language, as adequate as possible, the expressive attributes of the material he uses (mostly wood), a free universe extended by the fundamental pillars of the universal mythology, especially those of the Hellenistic and Roman antiquity and the Biblical ones. It is one of the most steadfast thematic and structural concerns of a sculptural vision as individualized as possible. The artist’s work in its entirety is crossed by such extremely productive strains in the field of reintegration into a modern sensitivity flow, open to any brand new stylistic trends. The Creation of the World, Matter and Spirit, The Large Spiral and The Double Spiral (free interpretation of the famous DNA pattern - the axis of life!) and then Prometheus, Adam and Eve are part of this type of long-term project that the artist advertises in every exhibition. We might also add the tendency frequently formulated in the mature works, to the conceptualist utterances of philosophical nature, in which the form aims at the abstract content of the idea, reduced to descriptive elements, briefly suggested. It is the domain of the inner monologue and of the hidden image into a symbol or a concise gesture that takes the place of the older kinds of sculptural rhetoric, which engages a type of open and somewhat dramatic dialogue with the viewer in a sort of continuous and emphatic provocation with the public forum. This time, Constantin Platon proposes the testimonial undertone, the colloquial 
space, oriented towards the inner universes of the being or toward the boreal space of elevated thought, in the manner in which they are revealed in The Guide in the Cave, in Escape in Itself, The Caudine Forks...
          In order to get closer to the fulfilment of his nowadays artistic intentions, the artist reintroduces in his plastic syntaxes the archetype of ethnomorphosis, but in a much suave and modern tone, which summarizes a kind of content of native spirituality (the chains from a single piece of wood, the clamp, the prison, the crown, the spinning fork. All of these gather up in something I would call an art of the essential reconfiguration of the objective and close universe in which we live in. A sui-generis poetics of the state-forms, typical of the artist’s creative fancy. The drawings that accompany this sensitive sculptural voyage, dominated by the warm and flexible fibre of the wood, attract one’s attention to Constantin Platon’s artistic discipline, a virtuous character, in postmodern terms, on the Murnu, Medrea, Apostu line. The behaviour destined to two dimensional plastics in colour proves the artist’s versatile preoccupations, his need to express himself through a more flexible and more adequate manner to explore the inner nature of man. There are pseudo-landscapes, gestural notations of some states (most of them evoking "the experience" of the Mediterranean Otoni), but also the need to build in colour rhythms and antagonistic shapes, enlightened by astral lights (gold, silver) in fields of grave, tenebrous tones that betray the artist’s availability for the cerebral poetry of reflectiveness.


Corneliu Antim, Constantin Platon. Volum - Formă - Culoare, Simeza Gallery, 1998, Bucharest.
 


IMAGES



    BIOGRAPHY

    (1936, Targul Ocna, Bacau- 2012, Bucharest)
     
    Academic studies:
    1965 - Graduated from the "Nicolae Grigorescu"Institute of Fine Arts, specializing in sculpture, Bucharest, Romania.
    1975 - Member of the Romanian Fine Arts Union (Bucharest Branch). 
     


    PROJECTS

    Solo exhibitions:
    1985 - Socialist Republic of Romania Fine Arts Union, "Simeza" Gallery, Bucharest, Romania (exhibition and catalog prefaced by P. Frâncu);
    1990 - Romanian Fine Arts Union, "Simeza" Gallery, Bucharest, Romania;  
    1998 - Constantin Platon. Volume - Form - Color, "Simeza" Gallery, Bucharest, Romania (exhibition and catalog prefaced by Corneliu Antim).
     
    Group exhibitions:
    1988 - Wooden Carving Exhibition, Gallery "Orizont", Bucharest, Romania.

    Symposiums:
    1977 - Magura Sculpture Camp, participating with the work: Mariuca Mamii, Buzau, Romania;
    1981 - Magura Sculpture Camp, participating with the work: Mariuca -Maiastra, Buzau, Romania;
    1984 - Salistea Sculpture Camp, participating with the work: Mariuca - Sisters, Sibiu, Romania;
    1986 - Covasna Camp, participating with the work: Nude Compositions, Covasna, Romania;
    1988 - Scantaia National Sculpture Camp, participating with the work: Seasons, Scanteia, Iasi, Romania.
     
    Monumental works:
    Self Portrait (marble, 40 x 23 x 20 cm);
    Mariuca and The Sunflower (marble, 32 x 25 x 23 cm);
    Mariuca - Sun and Moon (marble, 61 x 45 x 28 cm);
    Mariuca - Joy (stone, 92 x 25 x 25 cm);
    Mariuca’s Youth (Stone, 110 x 30 x 25 cm);
    Mariuca’s Tree (walnut wood, 72 x 10 x 10 cm);
    Spinning (walnut wood, 157 x 50 x 40 cm);
    Spinning (walnut wood, 112 x 25 x 20 cm);
    Spinning (walnut wood, 112 x 40 x 25 cm);
    Detunata Organ (marble, 110 x 24 x 24 cm);
    Morning Organ (fir wood, 158 x 22 x 20 cm);
    Vanishing Lines (walnut wood, 53 x 24 x 12 cm);
    Narcissus (walnut wood, 45 x 26 x 18 cm);
    The Thinker A (Marble 42 x 15 x 12 cm);
    The Thinker P (marble, 42 x 13 x 10 cm);
    The Thinker S (marble, 36 x 12 x 10 cm);
    On a Breath of Heaven (walnut wood, 66 x 26 x 20 cm);
    Portrait (plaster, 50 x 30 x 30 cm);
    Portrait (plaster, 45 x 29 x 27 cm);
    Form (wood, 35 × 25 × 20 cm). 
     


    BIBLIOGRAPHY

     
    References:
    Platon, Constantin, solo exhibition catalog, Gallery "Simeza" 1985.
    Platon, Constantin, solo exhibition catalog, Gallery "Simeza", 1990.
     
    Web sources:
    http://ro.wikipedia.org/wiki/Tabăra_de_sculptură_Măgura