CRITICAL REVIEW


          Aurel Vlad’s sculpture is a continuous oscillation between religion and profanity. His world of petrified characters in dramatic poses creates a scene to which the viewer is uncontrollably drawn. The human state, in its complexity, remains Aurel Vlad’s favourite subject. The relationship singular being - crowd permanently exists in this plastic discourse, creating a type of tension that makes the sculptor’s approach unmistakable. But even when a character is part of a crowd, his uniqueness is dramatically 
asserted through sublime gestures or stereotypical actions.
          For Aurel Vlad religious subjects have always been tempting. Some of his older works, especially wooden ones, explicitly addressed themes from the Old and New Testament, crucial moments in the history of the Son of God’s passing through the world, episodes inspired by the martyrdom of early Christians. In more recent works, the subject of religion is concealed, but not absent.
          Aurel Vlad carves wood in a raw manner, with large cuts, while metal is carefully shaped, with attention to detail. His golems are stylized and he takes more interest in the anatomy of the gnomes. The animal motif returns periodically in Aurel Vlad’s three dimensional works. The zoomorphic is often present in his workshop sculpture and it represents the plastic avatar of one of the most human feelings: fear. The compositions with people and dogs are reproduced in wood and metal. The crowd enters a dialogue with individual characters, zoomorphic and anthropomorphic. Monumentality feels comfortable next to miniature. All sorts of antagonisms, from the conceptual ones to the formal embodiments offer nerve and sap to the works of Aurel Vlad, the sculptor of the unleashed and explicit show, creator of a world in permanent movement, with risings to the spirit’s strengths and falls into the instinctual abyss.


Luiza Barcan (2014)
 


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