CRITICAL REVIEW


          Olga Smolenschi’s work becomes more prominent posthumously, being accessible to a larger public. Along with organizing the sculptress’ first personal exhibition at the Round Hall of the Military Circle in Bucharest, the actions of promoting in media her sculptures became concrete while being conducted by Lucia and Ioan Fota. The portrait of a valuable amount of works signed by Olga Smolenschi is outlined through her participation in cultural events and donations organized by The National Museum of       Agriculture from Slobozia, the Museum of Art "Casa Simian" within the Valcea County Museum, the Museum of Art from Baia Mare and the Museum of Gumelnita Civilization from Oltenita, by publishing in 2013 the volume "Olga Smolenschi - Revelațiile unui sculptor" ("Olga Smolenschi - Revelations of a Sculptor"), signed by the art critic Constantin Prut.
           The artist goes through an evolutionary itinerary in which one can determine some distinctive stages. Her talent and intelligence are reflected through the technical and aesthetic qualities expressed both in the early works such as Korean - patina on
plaster, and also through the capacity of synthesis and the sensitivity emanating from mature works, such as The Girl with Beads, Villager from Oaş or He and She.
          The contact with traditional arts, with folk motifs, with artifacts belonging to the Neolithic period is inspiring for the artist. Just like Brancusi, Olga Smolenschi spiritually travels the conceptual distance between form and sign. The simplification of the volumes is done in a moment of form purification. The attention paid to representing the human body is revealed both in classically inspired works, marked with expressionist accents such as: Youth, Torso or Repose, and also in works in which the "essentialization" of the form transforms the body in sign, just like in Tenderness or Neolithic Torso.

Andreea Foanene (2014)

 


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    BIOGRAPHY


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