PARASCHIV, Alexandru



          The small sculpture works exhibited in Galaţi, done in marble, stone, granite, wood, metal, polychrome resin, conquer the viewer from the first visual impact with their diversity and their synthetic forms, with the subscription into space of some volumes that send us far away in time, to the prehistoric art. Born in Călăraşi, in a town in which the Neolithic anthropomorphic fine art is well represented and its cultural value surpasses Romania’s borders, Alexandru Paraschiv borrowed from it whatever his spirit needed, 
he made metaphor and symbol become the emblematic garment of some works of a great conceptual and emotional load. Even though his sculptures are mostly named Torso, Couple or Head of a Bull, they all have their distinctive note of originality, they are realized in a certain manner and their form is polished to perfection. The material in which he carves and for which the artist manifests a particular understanding, is also different, varying from marble, stone and less wood. Sometimes, the author leaves behind small rough surfaces to observe the structure of the material or to suggest its age. When faced with some of the works, one can feel they were discovered by archaeologists and that they evoke a mythical world. The stone hammer, found in Neolithic, becomes, by doubling, a motif of transposing the idea of the couple. Some other instances of the couple are represented through two hearts or two embraced figurines. The sculptures centered upon the anthropomorphic motif keep the modeling canons of the Neolithic fine arts: the characters are depicted standing, sitting or resting; a lot of importance is given to highlighting some anatomical details, such as breasts, buttocks, the sexual triangle, the navel and the hips; the head is most likely missing, put when it is present, the details of the face are not of great importance; the arms are cut off from the shoulders; sometimes, the hips, 
symbolizing fertility, are exaggerated. [...] In the sculpted mass of the four miniature statues representing Idols, conceived in triangular shapes, the artist intervenes with geometrical incisions that schematically define the parts of the feminine body. 
          The lesson of Brancusi’s sculpture was profoundly assimilated by Alexandru Paraschiv, the artist seeking that everything that comes out of his chisel and hammer to reach the essence of things and phenomena. Matter spiritualizes itself, it gains the eternal pulse of authentic art. His works have an accentuated note of purity, the line is synthetic and of a great simplicity. It is sometimes straight, scoring subtle geometries into space, other times it is curved, but each time it is elegant, concise, certain and expressive. His sculptures have a supple monumentality, their architecture includes compositional knowledge, the relationships between fullness and emptiness, between enlightened surfaces and the shadowy ones are well rhymed. "Art, says the artist, must not let us grow tired or cause headaches. The work of art has to be simple and pure to render us peacefulness and quietness". The two works named The Painter and The Paintress, done in polychrome resin, just like the panels of drawings and paintings exhibited reveal a sensitive colourist in the persona of the artist, preoccupied equally by the shocking, expressionist colour, but also by the tamed one. Very often, in painting there are some sculptures transposed in colour. Moreover, the photographs containing images of sculptures 
executed in metal show us Alexandru Paraschiv inclined to the abstract art, succeeding to create suggestive plastic forms, valorising his synthetic thinking and the passion for harmonious, essentialized construction. The encounter with his creation in the exhibition from The Museum of Visual Art (the curator and museum illustrator is Gheorghe Miron) bodes very well, this prestigious institution proving once again that it has the capacity and the potential to bring before the art lovers artists and works that illustrate 
as accurately as possible its contemporary art museum status.

Corneliu Stoica (2010)