Romelo Pervolovici, a multimedia sculptor and artist, has been preoccupied since his debut by the extension of the configuration means of the genre and by the sculptural object’s relationship with space, followed until the disintegration of the convention system that traditionally define the domain. Unavoidably, this process depends on the presence of the object‘s transfer in other types of spatial contextualization and on the material definiteness based on the proximity of the natural matter’s dynamics, in a performative discourse, of a dense poetics of becoming, of the situations and the unexpected events of the visual, audible, kinetic landscape. The extension of the spatial condition to architecture and archaic reference, from the 80s, which operate with modules alluding menhirs continues with the exploration of the objective universe of the rural household, transferring the focus point from the architectural ambientalism to the de-functionalized object removed from its initial functionalism, and stone, matter of the first constructions, succumbs its place to wood, that is compact and available to the traditional game of the relationship between fullness and emptiness, and also to the trellis, a rigid texture from which, through a radically different technique he obtains transparent sculptural volumes, from the formal repertoires belonging to the already practiced cultural complex. The exploration of sound (audible sculpture) debuts with a social thematic, that of the homeless children, the artist being continuously preoccupied by it as an subordinating element of a complex, interactive, ludic "monument" - the Medusa built of synthetic materials, electronic light sources that are also sound reactive. During the last decade, he resumed the theme of megalithic shapes - menhirs, dolmens - decontextualized from the architectural symbolic complex and inserted into diverse syntactic articulations in the forest landscapes, requiring once again to the stone-wood relationship a different reading plan of the one exploring matters as substantialities, technically defined for the semantic supplementation with the natural object-artefact or living-element-constructed object opposition. Photography and film (with their derivative subgenres) allow him permutations in this context of ambiental exercise, the scenographic appeal to unrealistic, artificial lights, unlimited landscaping simulations.
Alexandra Titu (2014)