{"id":1066,"date":"2025-12-15T11:53:06","date_gmt":"2025-12-15T11:53:06","guid":{"rendered":"https:\/\/andreifasie.com\/?p=1066"},"modified":"2026-01-12T17:25:25","modified_gmt":"2026-01-12T17:25:25","slug":"roxana-donaldson","status":"publish","type":"post","link":"https:\/\/andreifasie.com\/ro\/roxana-donaldson\/","title":{"rendered":"Roxana Donaldson - Patologia ca form\u0103 de cartografie afectiv\u0103"},"content":{"rendered":"

Roxana Donaldson<\/a> is a Romanian artist whose practice is grounded in sustained artistic research, initially oriented toward the vegetal world and gradually extending into adjacent territories of affect, memory, and corporeality. Her work is defined less by the medium, and more by the process. Each piece emerges through a sequence of deliberate procedures, where material handling becomes inseparable from conceptual articulation. Roxana frequently works on bed sheets, a support that carries domestic, bodily, and intimate connotations. Through repeated interventions, layering, erasure, and transformation, the fabric shifts from a passive surface into an active field of inquiry. The process itself retains a ritual dimension. As the artist has noted, the final act of ironing the works is not merely technical, but affective, producing a sense of warmth and care that becomes integral to the work\u2019s internal logic.<\/p>\n\n\n\n

Interviul cu Roxana Donaldson este disponibil aici<\/a>.<\/p>\n\n\n\n

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\u00cen Safety First \u2013 The Aftermath<\/em>, care a avut loc \u00een perioada 19.11.2025\u201330.11.2025 la Calea Victoriei Gallery 91\u201393<\/a>, Roxana aduce aceast\u0103 practic\u0103 la Bucure\u0219ti \u0219i reconfigureaz\u0103 instala\u021bia ca o nou\u0103 investiga\u021bie a interiorit\u0103\u021bii. Expozi\u021bia, curatoriat\u0103 de dr. Silvia Stoica<\/a>, porne\u0219te dintr-o explorare personal\u0103, dar se deschide deliberat c\u0103tre privitor, propun\u00e2nd un spa\u021biu comun de reflec\u021bie, mai degrab\u0103 dec\u00e2t o nara\u021biune \u00eenchis\u0103. Ceea ce se ofer\u0103 este o invita\u021bie de a intra \u00een structurile afective ale lucr\u0103rii \u0219i de a trasa propriile parcursuri prin acestea. Expus\u0103 pentru prima dat\u0103 la Dalgart<\/a>, de aceast\u0103 dat\u0103 expozi\u021bia se schimb\u0103, fiind alc\u0103tuit\u0103 din obiecte \u0219i picturi modulare \u0219i reconfigurabile, care au proprietatea special\u0103 de a se modifica de fiecare dat\u0103 c\u00e2nd un nou spa\u021biu este locuit de ele (sau poate cucerit? infectat chiar?).<\/p>\n\n\n\n

Curatoarea Silvia Stoica pune \u00een lumin\u0103, la propriu \u0219i la figurat, valori semnificative ale lucr\u0103rilor prin abordarea sa curatorial\u0103, rezultatul estetic final fiind unul deschis c\u0103tre privitor, primitor \u0219i, \u00een acela\u0219i timp, suficient de puternic pentru a-\u0219i spune propria poveste. Mai precis, dialogul dintre privitor \u0219i expozi\u021bie este resim\u021bit ca fiind real, ambele p\u0103r\u021bi av\u00e2nd o voce \u0219i capacitatea de a intra \u00eentr-o rela\u021bie care confer\u0103 lucr\u0103rilor sensuri noi. Viziunea Silviei Stoica aduce echilibru f\u0103r\u0103 a pierde din dinamism, iar la finalul vizitei r\u0103m\u00e2ne o impresie care te \u00eendeamn\u0103 s\u0103 vezi mai mult, s\u0103 reiei parcursul expozi\u021bional \u0219i s\u0103 descoperi noi straturi de \u00een\u021belegere care \u00ee\u021bi satisfac, pentru moment, a\u0219tept\u0103rile. <\/p>\n\n\n\n

\u00cen acest sens, Safety First \u2013 The Aftermath<\/em> poate fi citit\u0103 ca o investiga\u021bie a patologiei \u00een\u021belese nu ca devia\u021bie, ci ca teritoriu epistemic. Patologia, derivat\u0103 din pathos<\/em> \u0219i logos<\/em>, devine o modalitate de articulare a acelor zone \u00een care afectul dep\u0103\u0219e\u0219te reglajul, unde emo\u021bia rezist\u0103 instrumentaliz\u0103rii. Instala\u021bia Roxanei opereaz\u0103 exact \u00een acest interval, transform\u00e2nd frica, vulnerabilitatea \u0219i structurile defensive \u00een forme lizibile de cunoa\u0219tere.<\/p>\n\n\n\n

Imperfect X-ray of a Butterfly Helping a Human Breath<\/em><\/h3>\n\n\n\n

\u00cen lucrarea Imperfect X-ray of a Butterfly Helping a Human Breath<\/em>, structura vizual\u0103 stratificat\u0103 reflect\u0103 \u00eendeaproape nivelurile de sens pe care privitorul este invitat s\u0103 le parcurg\u0103. Imaginea se prezint\u0103 ca o radiografie par\u021bial\u0103, instabil\u0103: \u00een zona central-st\u00e2ng\u0103 se disting contururile unei cutii toracice, peste care se suprapune silueta violet a unui fluture. Aceast\u0103 suprapunere stabile\u0219te un dialog fragil \u00eentre anatomia interioar\u0103 \u0219i prezen\u021ba exterioar\u0103, \u00eentre ceea ce sus\u021bine via\u021ba \u0219i ceea ce pare lipsit de greutate, aproape incidental. Lucrarea se joac\u0103 deliberat cu percep\u021bia. Formele oscileaz\u0103 \u00eentre recunoa\u0219tere \u0219i dizolvare, oblig\u00e2nd privirea la o ajustare continu\u0103, ca \u0219i cum actul de a vedea ar fi el \u00eensu\u0219i imperfect. \u00cen acest sens, titlul func\u021bioneaz\u0103 mai pu\u021bin ca o etichet\u0103 descriptiv\u0103 \u0219i mai mult ca o cheie interpretativ\u0103. El nu \u00eencadreaz\u0103 imaginea ca reprezentare literal\u0103, ci ca o diagram\u0103 speculativ\u0103 a interdependen\u021bei.<\/p>\n\n\n\n

\"Imperfect<\/figure>
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Gestul de \u201eajutor\u201d al fluturelui nu este nici eroic, nici interven\u021bionist. Eficien\u021ba lui rezid\u0103 tocmai \u00een insuficien\u021ba aparent\u0103. U\u0219or, fragil \u0219i aproape imaterial, fluturele func\u021bioneaz\u0103 ca un contrapunct la densitatea corpului uman. Respira\u021bia nu este sus\u021binut\u0103 prin for\u021b\u0103 sau structur\u0103, ci prin prezen\u021b\u0103, echilibru \u0219i contact minim. Lucrarea inverseaz\u0103 astfel ierarhiile conven\u021bionale ale sus\u021binerii, suger\u00e2nd c\u0103 ceea ce ne men\u021bine poate proveni din ceea ce pare cel mai pu\u021bin substan\u021bial.<\/p>\n<\/div><\/div>\n\n\n\n

\u00cen loc s\u0103 prezinte anxietatea ca pe o deficien\u021b\u0103 personal\u0103, expozi\u021bia o expune ca pe o condi\u021bie sistemic\u0103. Acumularea sferelor negre, perforate cu ace, s\u00e2rm\u0103 \u0219i metal corodat, construie\u0219te un mediu \u00een care protec\u021bia devine agresiv\u0103, iar siguran\u021ba se confund\u0103 cu amenin\u021barea. Aceste forme nu doar ocup\u0103 spa\u021biul, ci prolifereaz\u0103 \u00een interiorul lui, suger\u00e2nd un proces mai apropiat de metastaz\u0103 dec\u00e2t de compozi\u021bie. <\/p>\n\n\n\n

Densit\u0103\u021bi maligne<\/h3>\n\n\n\n

Sferele negre func\u021bioneaz\u0103 ca un sistem dispersat, nu ca obiecte individuale. Suprafe\u021bele lor mate absorb lumina, refuz\u00e2nd reflexia, ceea ce le plaseaz\u0103 conceptual mai aproape de goluri dec\u00e2t de volume. Suspendate, ata\u0219ate de perete sau a\u0219ezate pe podea, ele par s\u0103 migreze prin spa\u021biu, dizolv\u00e2nd distinc\u021bia dintre sculptur\u0103, desen \u0219i nota\u021bie spa\u021bial\u0103. \u00cen loc s\u0103 func\u021bioneze ca simboluri, sferele se comport\u0103 ca ni\u0219te condi\u021bii. Ele marcheaz\u0103 spa\u021biul ca fiind modificat, instabil \u0219i permanent expus unei noi ocup\u0103ri. \u00cen acest sens, ele articuleaz\u0103 una dintre ideile centrale ale expozi\u021biei: frica nu ca eveniment, ci ca stare care se r\u0103sp\u00e2nde\u0219te, se a\u0219az\u0103 \u0219i remodeleaz\u0103 discret mediul.<\/p>\n\n\n\n

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