Page 249 - Museum

SERGHEI NICULESCU MIZIL

Lives and works in Bucharest, Romania
http://sergheiniculescumizil.blogspot.ro/p/trecutul-meu.html

When having in view the most concise image of a plant or of a landscape,
painting can only speak with the most direct means, the simplest ones. This
signifies that the painter operates -either extremely quickly, intuitively, or
after a prolonged experience - an almost instantaneous synthesis, where
the artistic labor is immediately rushed into sign, without allowing the visitor
of the image’s genesis, without making the handicraft decode the history
of the way back from the model to the painting. These kinds of images may
generate only in states of appolonic acceptance of seeing, sublimated from
the sum of the sensitive dates as a limit and optimal contour of the pictorial.
We first name the ”limit” because the synthesis must be immediate, and only
afterwards we name the ”contour” because it is defining, fully covering the
conjectural reference to the model. The contour of this type requires equally
quickly the saturation of the circumscribed zone with dense chromatic
matter, by bringing about the tone to its material plenitude. Then, working
on a certain portion of the canvas, there may be erected from it some relief
particularized as texture, which are chromatically detached through the
caloric value of color. The contour is specific - flat projection, as a sign, of
the special form - but without lacking a gestual conspicuousness, of the
synthesis and of the graphical invention. We may hence define a first stage in
Serghei Niculescu Mizil’s painting, a stage of the constructive vigor, where the
dense objects resumedly constructed, are being included in a homogenous
pictorial space equal to them in consistency. In a second stage, the painter
seems more preoccupied of space, with the transparence of matter, with
the permeability of space, which he only points out with zones of intense
chromatic accumulation.

The drawing seems to detach itself from the plastic matter, like a form in
search for its essence, so that the color is ranged in tiers - touch by touch - in
an intimate construction of the volume, facilitating its aerial roundedness.
Transparent vibrating backgrounds allow the detachment of same images
whose modeling - and we purposefully use the sculptural version of the term
which denominates the tonal model - aerially fulfils the volumetric sense
of the contour arabesque, profiling it on screens of chromatic contrast. A
restrained but attentively blended range sustains each work of the painter
Serghei Nculescu Mizil, proving that the artist may use in an equilibrate way
all the resources of our work, in his effort to find out the most concise and
clear expression of things, checked up in the transparence of matter or in
the fullness of the color.
Radu Procopovici, art critic

RED ROOSTER ON GREEN CHAIR, 1983 OIL ON CANVAS15,5X23,5 IN. | 40X60 CM. 
BLUE CAN WITH DUCK, 1983 OIL ON CANVAS15,5X23,5 IN. | 40X60 CM. 

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