TĂNĂSESCU (TANAS), Florentin







CRITICAL REVIEW

 
        From the generation of sculptors trained in the seventh decade, Florin Tănăsescu distinguishes himself through a pronounced originality of vision and of execution. Choosing to live in Paris for more than a quarter of a century, perfecting himself through the art of restoring monuments, the sculptor appears to be influenced by the minimalism born in Postmodernism, manifested in European art, but Florentin Tănăsescu seems to find and make explicit a solid motivation for his apparent minimalism. One might rather speak about an extreme stylization, a deliberate and programmatic purification of materiality, the reduction of the form to a fine contour resembling a calligram, meant to exalt the spiritual content at the expense of the material appearance of the chosen motif. Florentin Tănăsescu is one of the artists fascinated by the unseen universe, by the divine breath that animates every living form. His atectonic constructions, often defying gravity, his option for wood as primary material of his works, the two and three dimensional conceptions of some compositions and the finesse of arabesques get the artist closer to the Christian spirituality of contemporary expression. Florentin Tănăsescu adjoins wood and other materials, such as metal and rubber, in order to obtain expressive contrasts, but also for the purpose of sustaining some feeble forms, drained of volume that may conquer the visual space. The works executed only in wood carry obvious anthropomorphic suggestions and they are realized through direct cutting. Florentin Tănăsescu is a sculptor that is constructively attracted by conceptual suggestions coming from tradition which he, however, exploits in (post)modern spirits.

Luiza Barcan (2014)
        


IMAGES



    BIOGRAPHY


    PROJECTS


    BIBLIOGRAPHY