Olteanu Cioata Maria Roxana
Purity, tehnique mixt, portelain, metal, 20/45/52 cm
Prezentare Demers Artistic
The Ways of Maria Cioată: Sense and Intuition
The hallmark of Maria Cioată’s artistic work is her special relationship with the selected materials, never at random, always in the service of ensemble. This assumption has some animistic connotations. The combination of porcelain or stoneware with metal, sometimes with wood, falls into a personal sense, metaphorically speaking, of alchemical nature. The final shape of her pieces is given not by the physical properties of the constituent substances, but by the transposition of her original ideas into real visual forms.
In a highly tangible area, that of ceramics, in which the modeling energy is directly transmitted through fingers, the artist creates rather images, of course, in volume, than aesthetic objects, be they spectacular, unusual or surprising. The interrogative nature of the works has a major role in her act of creation.
Beyond the refinement of her works and the experimental part, always associated with burning, the light and vital space play leading roles in determining the designed assemblies. Thus, the visual show is extended from actual pieces outward, through shadows, but also to the imagination, symbol and not least the verb area, given the iconographic sources, often legible or announced in titles.
For Maria Cioată, all the world elements are part of a spacious (magical) weave. Invisible links are suggested by the association of ceramic bodies, often fretted with wire or mesh. Beyond the implied visual effects, the light filtering and dispersion or the vectorial expansion of space are part of her artistic language.
The Androgynous myth is recurrently interpreted, like those of Genesis. Angelology doctrines complete the sketched theme picture. Of course, we can identify an amount of sub-themes treated in the same coherent and personal note.
The alternation of positive and negative volumes highlight the complementarity and the difference between the parts of an ensemble. Relations between in and out are marked not only by the concave and convex structures, thought to be read from both perspectives, but also by the organization as a puzzle of some surfaces, with missing pieces revolving in suspension around their designated places. Mentally filling the entire, as stylistic innovation, can be aesthetically rewarding by itself, though this aspect is not a stake of the artistic discourse. Most of the works, if not made explicit as installation or diptych, have network structures or are thought to be recontextualized when displayed. We are dealing with proposals of space configuration.
Although the forms visually live by themselves, the iconological part is predominant. Female torso, for example, is at the same time regarded as a piece of traditional clothing, dogmatic egg and asleep muse. The message revolve around breath, life, soul, in fact pneuma, not around the cultural quote. The idea of the divine spirit that animates the world is found in all of her work. For Maria Cioată intuition and sense intertwine and represent the path to the same truth behind all appearances.
Mihai Plămădeală, art critic