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The self-portrait of Andrei Gamart in an interview. A painting made up by questions

Painter Andrei Gamart is in an endless discussion with the world of fine arts
Painting has its philosophy, its rules. We become obedient to art unless Divine Providence was generous with us and gave us the talent to speak using the brush and the colors. Painter Andrei Gamart is in an endless discussion with the world of fine arts. After "having dicussed" with the art in Republic of Moldova, it crossed the Prut River to change a little the direction of the subject. Moreover, recently he participated with his creations: nine canvases and an art object at the Modern Art Exhibition "This Garden was Enchanted” within "Zorzini" Gallery in Bucharest. Art works spoke on behalf of his talent. Later on, Andrew spoke in the name of our project, and the discussion is to be known by everyone else eventually. In fact, his art works were beautiful and painted with great inspiration.

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First name, last name: Andrei Gamart
Date of birth: 08.09.1980
Place of birth: Chisinau
Education: Painting Department, Academy of Music, Theatre and Fine Arts, Chisinau
Domain of activity: Arts
Achievements: Recognized abroad painter, with a large number of personal exhibitions in his portfolio

  • It is said that the painting is divided between passion and money
Personally, I would not draw a clear line between these features. Passion remains the source of all artistic activities. The fact that I earn money from the art I create, it's a thing to be appreciated. We all know how artists are coping – they live according to their daily earnings. I assume you mean the painting that became a product and which sells based on some obscure principles of art market. Art market, like any market is based to some extent on speculation. No longer is it a novelty for anyone that art has become an investment and any investor seeks to increase his capital. It's a whole system that maintains and manages this state of affairs: galleries, attending art fairs, auction houses, private consultants, collectors, institutions that make up the endorsement - established- the right belongs to a particular artist. All these elements interact to increase the value of an art work. The fact that this is happening in a very fast pace, challenges you to think about this phenomenon.

I realize, however, that there are some nuances
As an artist, you do not have visibility without galleries, either local or international. Without collectors art works do not circulate and it is crucial for art to move, to cover various levels of perception, to get noticed. It is a specific thing for times in which we live. The artist often is outside that system. His works are the apple of discord. And I believe it's good to think outside the box, compete with yourself, be your own object of study and practice. It is useless to wonder about the value of one or another object. Time, surely, will do it much better.

  • In Romania there are more possibilities for an artist
The reason is that there is a real connection with what is happening outside the country. Galleries in Romania are present within some prestigious art fairs such as: Art Basel, The Armory Show, Frieze London, Wiennafair. Bucharest Biennale of Contemporary Art (having reached the 6th edition) and NMCA (National Museum of Contemporary Art) are the other two institutions, different in approach and structure. Both, however, maintain a living presence of foreign artists on Romanian art scene, acting as a favorable platform to exchange ideas. In a few words – Romania is a growing artistic environment. Bucharest, on the other hand, is full of artistic offers. There's room for everyone. The only condition - to work and do it totally in an assumed way. I am only at the beginning of this process.

  • I think the first exhibition I attended was in 1998
An anniversary exhibition at the National Museum of History of Moldova - 110 years since the establishment of the Republican College of Fine Arts "Alexandru Plamadeala". It was my third year of studies and I exposed my art work together with my colleagues’ art works in the hall of the museum. I remember I had a strange feeling when I saw my work there. I still could not overlook. It was very embarrassing for me when I saw myself hanging on a wall, literally.

  • A painter in the twenty first century
You have no choice but to be yourself. Be your own environment, your own standard. There is nothing identical in this world. Everything is unique. And as you get to know yourself more, the way you really are, you get to realize what it means "to be genuine", and thus, the vision you have is more convincing. And when I say – my own standard – I mean a constant reference to the time and space we live in - at this very moment of present tense.

It is true that there were many experiments performed, there was technology developed that could easily replace traditional painting environment. But these are only environments, designed to record and transmit, mediate a message. What and how you transmit it, relates to a process that is profoundly illogical, marked by human imperfection, by its ephemeral condition. The artist lives more acutely this kind of disability.

  • Painting directed towards toward individualism vs team
It's a fact. We become increasingly alone. There is a general trend, association that the artist perceives and deals with in his work, perhaps, not always at a conscious level. Personally, I feel more at ease when working alone in the studio. To operate within a group of artists can help you break some internal or external barriers, which you couldn’t be able to break in a short period of time. Vanguards worked this way. I do not know if there's room, nowadays, for the avant-garde movements as "Surrealism" or "Dada". Everything happens very quickly.

  • The exhibition "This Garden was Enchanted" took place from May 15th to July 4th at Zorzini Gallery in Bucharest
We presented nine canvases and an object of modern art. We thought of them as pieces that combine together to create a whole picture. Lately I was interested in the pattern of light, speaking of its physical and quantum meaning, and in the same time, as a sensitive model. I found an idea in Henri Bergson’s works which fit well within my searches. Namely, there are two types of memory: domestic memory, located in the brain and a memory that is outside the body, the pure memory of the objects that becomes continuous without having to take a shape. My challenge was to overlap these two types of memories, to find a body in which to interfere. To me, everything is light. When I state everything, I mean material things, organic, mental structures, the image of everything. Therefore, a latent light of the objects over which the veil (theme) of oblivion is thrown. And when pure memory is reactivated, in certain circumstances of maximum inner weakness, then the matter begins to shine, returns to that luminous starting point. I wanted to capture the moment when the veil falls apart, when what you see is of an almost electrical power and hesitation that is truly human.

  • I am not interested in the future
I just do not have time to look at such a far perspective. I am very caught up in what's happening to me now. I want my attention to be drawn to every moment, to imprint life to this moment, and keep it alive. This desire is not out of my personal frustration. Rather it is the passion of a childish curiosity to find out if it is still possible.
Selected: SD

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