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<\/figure>\n<\/div>\n\n\n\nElena aduce \u00een prim-plan lucr\u0103ri tridimensionale care variaz\u0103 ca form\u0103, dimensiune \u0219i intensitate a negrului, manifestate cel mai clar \u00een atmosfera \u00eentunecat\u0103 ce caracterizeaz\u0103 \u00eentreaga expozi\u021bie. Outrenoire<\/em>-ul propus de artist\u0103, combinat cu aspectul tactil al pieselor, \u00eempinge aproape privitorul \u00eentr-o stare reflexiv\u0103 asupra luptei pentru stabilitate \u00een era vitezei, f\u0103c\u00e2ndu-ne s\u0103 accept\u0103m c\u0103 oprirea nu mai este o op\u021biune fireasc\u0103, ci un obiectiv. Acest contrapunct vorbe\u0219te mult despre lumea noastr\u0103, despre ambi\u021biile noastre \u0219i despre modul \u00een care nimic nu r\u0103m\u00e2ne la fel<\/em>.<\/p>\n\n\n\n Mai mult, pe podea putem observa \u0219i chiar interac\u021biona cu o structur\u0103 asem\u0103n\u0103toare unui nod gordian, care ne trimite cu g\u00e2ndul la mai multe lucruri: forma bure\u021bilor de mare, culoarea \u0219i ambiguitatea g\u0103urilor negre \u0219i complexitatea lucrurilor aparent simple. Constantin Br\u00e2ncu\u0219i, p\u0103rintele sculpturii moderne, afirma c\u0103 \u201eSimplitatea este o complexitate rezolvat\u0103\u201d, iar interac\u021biunea cu lucr\u0103rile Elenei Ilash ne arat\u0103 cum fiecare interven\u021bie pe care o ad\u0103ug\u0103m modelului de baz\u0103 genereaz\u0103 un nou peisaj, \u00eentr-o rezolvare perpetu\u0103 a cadrului complex prezent \u00een sal\u0103. <\/p>\n\n\n\n Acest cadru produce un efect de mindfulness, oblig\u00e2nd percep\u021bia s\u0103 se concentreze nu pe sens, ci pe forma \u00een sine. L\u0103s\u00e2ndu-ne captivi \u00een \u201egaura neagr\u0103\u201d creat\u0103 de artist\u0103, putem \u00een\u021belege cu adev\u0103rat c\u0103 transformarea, mi\u0219carea, Fluxus<\/em>, reprezint\u0103 un peisaj interior natural, iar noi suntem pasageri \u00eentr-un mediu aflat \u00eentr-o continu\u0103 schimbare.<\/p>\n\n\n\n \u00cen partea din spate a \u00eenc\u0103perii, un panou alc\u0103tuit din 6 p\u0103trate aduce, la r\u00e2ndul s\u0103u, o vizualizare a speran\u021bei, o fisur\u0103 \u00een outrenoire<\/em>, un spa\u021biu conceput pentru urmele celor care au \u00eendr\u0103znit s\u0103 zg\u00e2rie \u00eentunericul. \u00cen spatele lor, lumina p\u0103trunde, dezv\u0103luind cuvinte, schi\u021be sau simple amprente \u2014 semne ale prezen\u021bei cuiva, ale unui trecut, ale unor fr\u00e2nturi de sens. Semne care, prin liniile lor simple, transmit informa\u021bie oricui traverseaz\u0103 galeria.<\/p>\n\n\n\n Pe podea, chiar sub panouri, fragmentele lucr\u0103rii devin dovezi ale interac\u021biunii, oferind o istorie \u0219i subliniind \u00eenc\u0103 o dat\u0103 faptul c\u0103 nimic nu r\u0103m\u00e2ne la fel<\/em>, chiar \u0219i \u00een absen\u021ba unui indicator direct al timpului. \u00cenveli\u0219urile pe care le l\u0103s\u0103m \u00een urm\u0103, buc\u0103\u021bile c\u0103zute pe jos, urmele de pe pere\u021bi \u2014 toate acestea transcend din fizicalitatea spa\u021biului \u00een t\u0103r\u00e2mul abstract al timpului.<\/p>\n\n\n\n O lucrare preferat\u0103, personal, din aceast\u0103 expozi\u021bie este piesa de art\u0103 de mai jos, un p\u0103trat care vorbe\u0219te r\u0103spicat despre un anumit tip de a\u0219teptare. Asemenea unei fiare s\u0103lbatice, unui pr\u0103d\u0103tor, lucrarea pare nu doar c\u0103 st\u0103 \u00een fa\u021ba ta, ci c\u0103 te \u0219i confrunt\u0103 dintr-un spa\u021biu \u0219i timp \u00eendep\u0103rtat. P\u0103tratul negru embosat vorbe\u0219te despre istorie, memorie, texturi \u0219i forme, toate reunite \u00eentr-un discurs vizual unic ce ne face s\u0103 reflect\u0103m asupra rela\u021biei noastre cu trecutul \u2014 dar poate, cel mai important, asupra lec\u021biilor pe care ar trebui s\u0103 le \u00eenv\u0103\u021b\u0103m \u0219i s\u0103 le aplic\u0103m \u00een viitor. <\/p>\n\n\n\n Nothing says the same<\/em>, \u201espune\u201d lucrarea expus\u0103, iar acest lucru este, cu siguran\u021b\u0103, at\u00e2t o binecuv\u00e2ntare, c\u00e2t \u0219i un blestem.\nDepinde de noi nu doar s\u0103 decidem, ci \u0219i s\u0103 ac\u021bion\u0103m \u00een consecin\u021b\u0103.<\/p>\n\n\n\n AF<\/strong>: I can\u2019t help but feel invited by the title of your exhibition, Nothing stays the same, to ask a starting question: What stays the same, Elena?<\/em><\/p>\n\n\n\n Elena<\/strong>: The title reflects the fact that matter has an evolution dictated by the gesture that activates it in the act of creation, of making. And in this case, the matter is glued, unglued, cut \u2013 or cut out \u2013 and composed again and again. It is a process of recovering matter, of recontextualization. Nothing must remain the same in the context in which using the verb \u201cto evolve\u201d means that everything has a course, an approach, and\/or a path.<\/p>\n\n\n\n AF<\/strong>: As the curator, Ph.D. Ana Negoi\u021b\u0103, stated, the exhibition speaks a lot about your imaginary. What are the links between the everchanging shape in your artworks and your personal view of the world that we live in today?<\/em><\/p>\n\n\n\n Elena<\/strong>: My imaginary refers to an apocalyptic perspective of \u200b\u200bthe world. It is that part in the shadows, the play with shadows and lights, with the volume in space, the association of materials, the speculation of structures and textures created from and with the chance of the intervention, determined by a more or less controlled gesture. Artists are the barometers of the times they go through, like a mirror they can reflect, anticipate some events, or be influenced by them.<\/p>\n\n\n\n Thus, it can be considered that a series of works are the result of some influential changes in plastic visions. This is also my case, I wanted to make this series of \u201eContact Surfaces\u201d in relief and by experimenting with them to bring them to the now-defined shape. Everything lined up around a perfect square that I used as a base to work on the surfaces that were built up by addition. Finally, I created my own landscapes, my own windows to another dimension of existence.<\/p>\n\n\n\n AF<\/strong>: This solo show, as you called it, is also an invitation for the public to actively participate in the exhibition. How do you perceive this intervention?<\/em><\/p>\n\n\n\n Elena<\/strong>: Yes, and in the case of this solo show, I chose, together with Ana Negoi\u021b\u0103, the curator of the project, to have an element of interaction. If the public is usually forbidden to touch the exhibits, in this case, they are invited to do it, to have a type of intervention, of interaction that challenges them, to contribute to the creation of an exhibit \u2013 the result of direct action on the material in the exhibition being the sponge. We wanted to leave a certain kind of freedom and agency to art consumers by creating this panel that can represent a trace and that is meant to become a document of the present time.<\/p>\n\n\n\n AF<\/strong>: We can clearly observe the prevalence of black in your artwork. An organic, metamorphic, deep black, an outrenoir par excellence. Is this a color that works as a portal for the receptor, or a wall that claims a need for introspection \u2013 or something else? Where does this portal take us to?<\/em><\/p>\n\n\n\n Elena<\/strong>: I never think of black as just black. I think of black as a phenomenon, the lack of light, the fact that it is a collection of colors, or that it is perhaps the most difficult color to approach. But in the context here yes, it represents a portal, a window to a universe that opens in the imaginary in the absence of light creating individualized forms. The forms are only suggested, they can be gardens of fantasy, invented faces, indistinct shapes encrypted in form but which can refer to a parallel, perhaps idealized world that we want, in which we live, or in the dream zone in which we can sometimes find ourselves.<\/p>\n\n\n\n AF<\/strong>: While looking at the exhibition, a certain peace occurs: all the tensions seem to fade, and because nothing stays the same, I feel invited to accept the eternal change, not to oppose it anymore. Nothing stays the same means that everything is always changing, and I want to know how you, as an artist, keep up with the eternal shift?<\/em><\/p>\n\n\n\n Elena<\/strong>: I don’t know if the emergence of silence is noticeable. I don’t know if it’s not the calm before something that has already happened or the anxiety that something is about to be unleashed. I know they are fragments of a broken mirror reflecting an imperfect world hoping that all these little forms create what the universe itself gives us, the uneven variety of life, with all its imperfections in a…kaleidoscopic way. I keep up with the change by trying to train myself in the exercise of adaptability to the new times, with the imminent changes, and to let myself be surprised by the improbable side of things, by its signs and miracles.<\/p>\n\n\n\n AF<\/strong>: Titlul expozi\u021biei actuale este extrem de ofertant, Nothing stays the same, \u0219i ma simt aproape obligat s\u0103 te \u00eentreb, Elena: Ce r\u0103m\u00e2ne, totu\u0219i, la fel?<\/em><\/p>\n\n\n\n Elena<\/strong>: Titlul reflect\u0103 faptul c\u0103 materia are o evolu\u021bie dictat\u0103 de gestul care o ac\u021bioneaz\u0103 \u00een actul crea\u021biei, al f\u0103uririi. \u0218i \u00een acest caz materia e lipit\u0103, dezlipit\u0103, t\u0103iat\u0103, decupat\u0103 \u0219i compus\u0103 iar \u0219i iar. E un proces al recuper\u0103rii materiei, al recontextualiz\u0103rii. Nimic nu trebuie s\u0103 r\u0103m\u00e2n\u0103 la fel \u00een contextul \u00een care folosind verbul \u2019a evolua\u2019\u2019 totul are un mers, un demers, un parcurs.<\/p>\n\n\n\n AF<\/strong>:A\u0219a cum remarc\u0103 \u0219i curatorul, dr. Ana Negoi\u021b\u0103, expozi\u021bia reflect\u0103 foarte mult din imaginarul t\u0103u. Care sunt leg\u0103turile dintre formele \u00een permanent\u0103 schimbare din arta propus\u0103 de tine \u0219i viziunea ta asupra lumii \u00een care tr\u0103im ast\u0103zi?<\/em><\/p>\n\n\n\n Elena<\/strong>: Imaginarul meu face trimitere c\u0103tre o zona apocaliptic\u0103 a lumii. E partea din umbr\u0103, jocul cu umbrele \u0219i luminile, cu volumele \u00een spa\u021biu, asocierea materiilor, specularea unor structuri \u0219i texturi create din \u0219i cu hazardul interven\u021biei, determinate de gestul mai mult sau mai pu\u021bin controlat. Arti\u0219tii sunt baromerele vremurilor pe care le traverseaz\u0103, ei asemeni unei oglinzi pot reflecta, pot anticipa unele evenimente sau pot s\u0103 se lase influenta\u021bi de ele. Astfel se poate lua \u00een considerare c\u0103 o serie de lucr\u0103ri sunt rezultatul unor influente r\u0103sfr\u00e2nte \u00een viziuni plastice. Este \u0219i cazul meu, mi-am dorit s\u0103 fac acest\u0103 serie de \u201esuprafe\u021be de contact\u201d \u00een relief \u0219i experiment\u00e2nd s\u0103 le aduc la forma definit\u0103 de acum. Totul s-a conturat \u00een jurul unui p\u0103trat perfect pe care l-am folosit ca baz\u0103 de lucru a suprafe\u021belor care s-au construit prin ad\u0103ugire. Prin asta mi-am creat propriile peisaje, propriile ferestre c\u0103tre alt\u0103 dimensiune a existen\u021bei.<\/p>\n\n\n\n AF<\/strong>: Acest solo show, cum l-ai numit, este \u0219i o invita\u021bie pentru public s\u0103 participe activ \u00een cadrul expozi\u021biei. Cum \u021bi se par aceste interven\u021bii, aceste interac\u021biuni obiect de art\u0103 – public?<\/em><\/p>\n\n\n\n Elena<\/strong>: Da \u0219i \u00een cazul acestui solo show am ales, \u00eempreun\u0103 cu Ana Negoi\u021b\u0103, curatoarea proiectului, s\u0103 existe un element de interac\u021biune. Dac\u0103 de obicei publicului \u00eei este interzis s\u0103 ating\u0103 exponatele \u00een acest caz el e invitat s\u0103 o fac\u0103, s\u0103 aib\u0103 un tip de interven\u021bie, de interac\u021biune, care s\u0103 \u00eel provoace, s\u0103 contribuie la crearea unui exponat- rezultat al ac\u021biunii directe asupra materiei din expozi\u021bie fiind buretele. Am dorit s\u0103 l\u0103s\u0103m un anumit tip de libertate \u0219i de liber arbitru consumatorilor de art\u0103 prin crearea acestui panou care poate reprezenta o urm\u0103 \u0219i care e menit s\u0103 devin\u0103 un document al timpului de acum.<\/p>\n\n\n\n AF<\/strong>: Putem s\u0103 vedem cu ochiul liber prevan\u021benta negrului \u00een crea\u021biile tale. Un negru organic, metamorfic, profund, un outrenoire par excellence. Este aceasta o culoare care func\u021bioneaz\u0103 \u0219i ca un portal pentru receptor, sau este, poate, un zid care revendic\u0103 o nevoie spre introspec\u021bie – sau este altceva? Unde ne duce acest negru? <\/em><\/p>\n\n\n\n Elena<\/strong>: Nu m\u0103 g\u00e2ndesc niciodat\u0103 la negru ca fiind doar negru. M\u0103 g\u00e2ndesc la negru ca fiind un fenomen, lipsa luminii, la faptul c\u0103 e un cumul de culori sau c\u0103 e poate cea mai dificil de abordat culoare. \u00cens\u0103 \u00een contextul de aici da, ea reprezint\u0103 un portal, o fereastr\u0103 c\u0103tre un univers care se deschide \u00een imaginar \u00een absen\u021ba luminii cre\u00e2nd forme individualizate. Formele sunt doar sugerate, pot fi gr\u0103dini ale fanteziei, chipuri inventate, forme nedeslu\u0219ite cifrate \u00een form\u0103 dar care pot trimite c\u0103tre o lume paralel\u0103, poate idealizat\u0103 pe care ne-o dorim, \u00een care tr\u0103im sau \u00een zona oniric\u0103 \u00een care ne putem situa uneori.<\/p>\n\n\n\n AF<\/strong>: Privind \u00eentregul expozi\u021bional, m\u0103 simt cuprins de un sentiment de pace: toate tensiunile par s\u0103 se piard\u0103 \u00een fundal, \u0219i pentru c\u0103 nimic nu r\u0103m\u00e2ne la fel, ma simt simt din nou invitat s\u0103 accept schimbarea ca ceva etern, s\u0103 nu m\u0103 mai opun ei – chiar \u0219i incon\u0219tient. Nimic nu r\u0103m\u00e2ne la fel \u00eenseamn\u0103, p\u00e2n\u0103 la urm\u0103, c\u0103 totul este \u00eentr-o continu\u0103 schimbare, cum ai spus chiar tu, \u0219i a\u0219 vrea s\u0103 \u0219tiu cum tu, ca artist, \u021bii pasul cu aceast\u0103 ve\u0219nic\u0103 evolu\u021bie?<\/em><\/p>\n\n\n\n Elena<\/strong>: Nu \u0219tiu dac\u0103 e sesizabil\u0103 apari\u021bia unei lini\u0219ti. Nu stiu dac\u0103 nu e lini\u0219tea dinaintea a ceva deja \u00eent\u00e2mplat sau nelini\u0219tea care urmeaz\u0103 s\u0103 se declan\u0219eze. \u0218tiu c\u0103 sunt fragmente ale unei oglinzi sparte care reflect\u0103 o lume imperfect\u0103 sper\u00e2nd c\u0103 toate aceste mici forme s\u0103 creeze ceea ce \u00eens\u0103\u0219i universul ne ofer\u0103, varietatea neuniform\u0103 a vie\u021bii, cu toate imperfec\u021biunile sale \u00eentr-un mod…caleidoscopic. \u021ain pasul cu schimbarea \u00eencerc\u00e2nd s\u0103 m\u0103 las antrenat\u0103 \u00een exerci\u021biul de adaptabilitate cu timpurile noi, cu schimb\u0103rile iminente \u0219i s\u0103 m\u0103 las surprins\u0103 de partea neverosimil\u0103 a lucrurilor, de semnele \u0219i miracolele sale.<\/p>\n\n\n\n In her most recent exhibition, Elena Ilash uncovers new art pieces that are beautifully represented by the title written right at the entrance: Nothing stays the same.(…).Elena brings forth three-dimensional artworks that vary in shape(…)The outrenoire proposed by the artist combined with the tactile aspect of the art pieces almost pushes the viewer into a reflective state regarding the struggle for stability in the era of speed(…).he black embossed square speaks about history, memory, textures(…).<\/p>","protected":false},"author":1,"featured_media":484,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[1,10],"tags":[],"class_list":["post-470","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-all-posts","category-articles"],"aioseo_notices":[],"jetpack_featured_media_url":"https:\/\/andreifasie.com\/wp-content\/uploads\/2023\/04\/P5.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/andreifasie.com\/ro\/wp-json\/wp\/v2\/posts\/470","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/andreifasie.com\/ro\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/andreifasie.com\/ro\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/andreifasie.com\/ro\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/andreifasie.com\/ro\/wp-json\/wp\/v2\/comments?post=470"}],"version-history":[{"count":22,"href":"https:\/\/andreifasie.com\/ro\/wp-json\/wp\/v2\/posts\/470\/revisions"}],"predecessor-version":[{"id":851,"href":"https:\/\/andreifasie.com\/ro\/wp-json\/wp\/v2\/posts\/470\/revisions\/851"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/andreifasie.com\/ro\/wp-json\/wp\/v2\/media\/484"}],"wp:attachment":[{"href":"https:\/\/andreifasie.com\/ro\/wp-json\/wp\/v2\/media?parent=470"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/andreifasie.com\/ro\/wp-json\/wp\/v2\/categories?post=470"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/andreifasie.com\/ro\/wp-json\/wp\/v2\/tags?post=470"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"\"](\"https:\/\/andreifasie.com\/wp-content\/uploads\/2023\/04\/IMG_2752-scaled-e1682424169515-1024x966.jpg\")
<\/figure>\n<\/div>\n<\/div>\n\n\n\nIntr\u00e2nd pe t\u0103r\u00e2mul timpului<\/h3>\n\n\n\n
![\"\"](\"https:\/\/andreifasie.com\/wp-content\/uploads\/2023\/04\/P4-e1682423556117-1024x870.jpg\")
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<\/div><\/figure>\n\n\n\nA\u0219teptarea<\/h3>\n\n\n\n
![\"\"](\"https:\/\/andreifasie.com\/wp-content\/uploads\/2023\/04\/P5-1-985x1024.jpg\")
<\/figure>\n\n\n\nInterviu cu Elena Ilash
ENG\/RO<\/h2>\n\n\n\n
\n\n\n\n![\"\"](\"https:\/\/i0.wp.com\/andreifasie.com\/wp-content\/uploads\/2023\/04\/IMG_2744.jpg?ssl=1\")
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