CRITICAL REVIEW


        Since his early years of activity, the sculptor has focused on Byzantine iconography representations and on worldwide religions and cultures traditional depictions. His artistic endeavor was always sustained by solid and thorough readings, starting from the Old and New Testament and leading to patristics, philosophy, cultural and religious history. Being concerned with the expression of a spiritual content of his work, the artist tried to convey a message that was not meant to remain hermetic or obscure for the viewer. For Alexandru Nancu, the means chosen to transmit his message was the symbol.
        Most of his artworks, either monumental sculpture meant for public forum, or small sculpture is maintained within the figurative-symbolic field. Anatomical elements, especially the hand and the torso, are approached using different materials: bronze, wood, stone, but also by means of graphic artworks, in a personal artistic view that tends to cancel materiality and to celebrate the spirituality of the represented bodies. Bearing the stigmas of torture, the hand, either carved, modelled or drawn by Alexandru Nancu represents a direct reference to the Sacrifice of Jesus Christ. The emaciated shape of the hand has as an iconographic source the Byzantine painting, still the expression suggested by the artist is heavily influenced by a personal view, maintained by a genuine spiritual experience of the reality of God’s existence.
        Alexandru Nancu’s "Pneumatophorus Anatomies" could be considered as being situated somewhere between a comprehensible figurative and the Christian spirituality, concentrated into a single element able to recall it: the hand, mostly, but also the torso. Starting with the well known human body, the artist goes through a difficult path, which separates the hand from its carnality and transfers it to a different kingdom. It gets loaded with some sort of spirituality which still leaves it recognizable, but simultaneously, it rips it from its immanence.
Alexandru Nancu’s works refuse the myth of "artistry".


Luiza Barcan (2014)
 


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