CRITICAL REVIEW


          Painter and decorative artist of the intermediate /middle generation, Mihai Păcurar underwent /passed through a spectacular metamorphosis / conversion, coming forth as a sculptor and continuing to boldly and ingeniously explore classic materials: wood, stone, copper or even mixtures of those. Both present in the sculpture camps established before 1989 and, then, in the current ones, author of some public forum works and small sculpture, Mihai Păcurar stands out through his exceptional / prodigious activity, built on the solid foundation of a personal view, equally synthetic and analytic.
          Irresistibly drawn to the human body, the sculptor creates shapes of a stunning / striking plasticity, full, massive forms, loaded with mythical and symbolic connotations, especially when he carves wood. The studied distortions of his characters, emphasizing certain anatomical details, while simultaneously avoiding / circumventing others, lead to the visual, compelling imposition of an unmistakeable message. Tragedy and comedy coexist in this anthropomorphic vision, which is not lacking in playfulness. The accused (Post)Modernity of Mihai Păcurar’s works takes roots, without falling into the trap of mannerism, in the European trends manifested in the last two decades’ sculpture. Especially in the public forum works, from the monuments meant to evoke historical events of capital importance, it pervades a science of essentializing and simplifying forms, in order to obtain the natural effect of accentuating the meanings which often an exhilarating composition might shadow. Tempted not so rarely by religious themes, Mihai Păcurar subjects his plastic embodiments to the same type of stylization, full of plasticity, managing to bring to a common denominator fragmentariness and an unified approach of the form.

Luiza Barcan (2104)

 


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