CRITICAL REVIEW


          A sculptor equally rooted in tradition and attracted by / drawn by the suggestions of the (post)modern visual language, Marian Petre works consistently in an applicatory manner, inserting his vision on human being and its condition into his art. The artist carves the wood inspiringly and roughly, rarely stone, because his favourite material remains moulded, hammered, cold-formed metal or in combination with wood. The motif of the double, in the hypostasis of the couple, of a perpetual androgynous being reappears in his compositions almost obsessively. What distinguishes his plastic language from his fellows’ is the constant mentioning of the relationships between fullness and emptiness. Metallic nets comprise suggestive bodies, sometimes overlapping stretched out vertical shapes. In Marian Petre’s art it exists a man-core and a man-net, in a continuous and suggestive dialogue with the viewer. As a fine portrait painter, the sculptor is also the author of some busts belonging to celebrities / important characters whose destiny he feels attracted to.

Luiza Barcan (2014)
 


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