Page 197 - Museum
P. 197

Rusu’s figurative tales are not descriptive. They are
       only in connection with the text for a pure, fantastic
       solicitation that the artist renews time after time. The
       text is a sort of pretest to stimulate his own taste, his
       own genius for a narrative plot derived from his pure,
       fantastic, visionary world, in witch emerges symbolic
       presences, archetypal and mysterious.
       His sheets are precious for their vivid, but softened
       chromatic that insinuates among the spaces made by a
       skillful etching mark aware of the expressive qualities
       of that medium. In front of Russo’s engravings, we
       have  the  sensation  of  being  in  the  front  of  ancient
       miniatures, singularly “oriental”, suddenly animated
       by tensions enchantment s, empiric but ac tual
       starts  and  plots.  Undoubtedly,  there is  a  surrealist
       component  in  Rusu’s  figurative  world  that  gives  to
       the author the freedom to reach a fantastic dimension
       as space of visionary revelation (here we can’t forget
       the  great  lesson of  the  Romanian Brauner,  with  his
       peculiar, archetypal surrealism).

       Regarding these same Rusu’s sheets, Dan Haulica
       spoke about a ”double dimension of technological
       mechanics and organic unity”. Actually, the visionary
       world of Petru Rusu seems to allude to both those
       dimension, as two competing archetypes in the folds
       of our reality. They seem to be indistinguishable inside
       his visionary plot, where the explicit components are
       just the floating presences of surreal symbolic figures.
       Those dimensions remain at the stage of spheres of
       allusion. They are references of the mechanical plot
       of our contemporary world and of the iconic plot
       that chases us daily. But they are even references
       of a remote organic root, of an anthropological truth
       on which are based the motivations of a visionary
       symbolism, like Rusu’s one.


         TEN GRAPHIC INTERPRETATIONS OF PENDULUM DE FOUCAULT BY
       UMBERTO ECO:  THE 10TH SEPHIROT/ KINGSHIP, 1998 DRAWING ON WOOD
       PANEL WITH CHARCOAL 31½X19¾ IN. | 80X50 CM.
       TEN GRAPHIC INTERPRETATIONS OF PENDULUM DE FOUCAULT BY
       UMBERTO ECO: THE 9TH SEPHIROT/ FOUNDATION, 1989 HAND COLORED
       ETCHING (AQUATINTA /AQUAFORTE) A3 SIZE: 11.7X16.5 IN. | 29,7X42 CM.   


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