{"id":16277,"date":"2026-09-23T11:29:50","date_gmt":"2026-09-23T08:29:50","guid":{"rendered":"https:\/\/revistafamilia.ro\/?p=16277"},"modified":"2026-09-23T11:29:54","modified_gmt":"2026-09-23T08:29:54","slug":"inflexiunea-curbei","status":"publish","type":"post","link":"https:\/\/revistafamilia.ro\/?p=16277","title":{"rendered":"Inflexiunea curbei"},"content":{"rendered":"
\n
\"\"<\/figure>\n<\/div>\n\n\n

\u00cen artele plastice, punctul de inflexiune (inflexion point) poate fi \u00een\u021beles ca un semn grafic esen\u021bial al compozi\u021biei: locul \u00een care o linie trece de la convex la concav \u0219i invers, marc\u00e2nd, \u00een plan expresiv, trecerea de la tensiune la relaxare. Dincolo de defini\u021bia sa geometric\u0103, inflexiunea cap\u0103t\u0103 astfel valoarea unei schimb\u0103ri de ritm, a unei rupturi fertile care pune forma \u00een mi\u0219care \u0219i \u00eei modific\u0103 sensul. Pictorul englez William Hogarth a teoretizat, \u00een secolul al XVIII-lea, existen\u021ba \u00een art\u0103 a \u201eliniei frumuse\u021bii\u201d, cu forma literei \u201eS\u201d, pe care o considera o solu\u021bie grafic\u0103 apt\u0103 s\u0103 imprime unei crea\u021bii senza\u021bia unei dinamici continue. \u00centr-un registru mai larg, filosofi precum Gaston Bachelard, Michel Foucault sau Thomas Kuhn au asociat ruptura \u0219i discontinuitatea cu momente de \u201etrezire\u201d a g\u00e2ndirii \u0219i crea\u021biei, prin desprinderea de constr\u00e2ngerile trecutului \u0219i de modele devenite rigide ori ap\u0103s\u0103toare. \u00cen acest orizont de idei se \u00eenscrie provocarea lansat\u0103 de Florina Silvia Iepure, profesoara care a coordonat o perioad\u0103 activitatea celor care expun acum \u00een cadrul Palatului Copiilor din Oradea. Demersul s\u0103u urm\u0103re\u0219te stimularea creativit\u0103\u021bii celor nou\u0103 tineri arti\u0219ti afla\u021bi la finalul studiilor universitare de arte frumoase, la nivel de licen\u021b\u0103 sau masterat. Nichita Maria Silaghi, R\u0103zvan Olariu, Ruxandra B\u0103lt\u0103\u021bescu, Alexia Vere\u0219, Anna Turkaly, Estela Maria Duma \u2013 fost\u0103 elev\u0103 a Liceului de Art\u0103 din Oradea \u2013, Alexandra Kery, Elisabeta Gabriela Pater, al\u0103turi de profesoara Florina Silvia Iepure, propun, prin pictur\u0103, grafic\u0103, video-colaj \u0219i print, rezolv\u0103ri vizuale adaptate ideatic unui context social \u0219i cultural specific unei societ\u0103\u021bi aflate \u00eenc\u0103 \u00een tranzi\u021bie. Este vorba despre societatea rom\u00e2neasc\u0103 de dup\u0103 1990, o realitate \u00een care schimbarea nu a eliminat neclarit\u0103\u021bile ideatice \u0219i nici tensiunile din planul con\u0219tiin\u021bei individuale. Educa\u021bia existen\u021bial\u0103 \u0219i cultural\u0103, raportarea la prezent \u0219i proiec\u021bia viitorului se \u00eent\u00e2lnesc aici \u00eentr-un teritoriu instabil, iar arta devine nu doar mijloc de reprezentare, ci \u0219i instrument de interoga\u021bie. Aceast\u0103 stare de c\u0103utare ofer\u0103 lucr\u0103rilor un fond fertil, capabil s\u0103 transforme nelini\u0219tea genera\u021bional\u0103 \u00eentr-o experien\u021b\u0103 vizual\u0103 coerent\u0103.<\/p>\n\n\n\n

Lucr\u0103rile, remarcabile printr-o elaborare tehnic\u0103 atent\u0103, dezv\u0103luie teme inspirate din realit\u0103\u021bi informa\u021bionale \u0219i afective proprii unei genera\u021bii ajunse \u00een momentul afirm\u0103rii unor direc\u021bii personale de expresie artistic\u0103, \u00een special \u00een pictur\u0103, dar nu numai. Titlurile lucr\u0103rilor \u2013 Abiogenesis, cu trimitere la originile vie\u021bii, Ride, Ho\u021bomanul, Memoria C\u00e2mpului negru, Spune-mi lun\u0103 de argint, Cruziunea infernului, Condus de l\u0103comie, Ochi \u00eencruci\u0219a\u021bi, Societatea cu branhii, Gobelini, Oglinzi \u0219i iluzii, Lan\u021burile justi\u021biei, Ultima Judecat\u0103, Inflexiunea curbei \u2013 indic\u0103 o problematic\u0103 divers\u0103 \u0219i un limbaj plastic care caut\u0103 deliberat solu\u021bii compozi\u021bionale netributare modelelor tradi\u021bionale de elaborare clasic\u0103.<\/p>\n\n\n\n

Expresionismul grafic \u0219i cromatic, precum \u0219i simbolul folosit ca semn motiva\u021bional \u0219i declan\u0219ator al c\u0103ut\u0103rii artistice sus\u021bin compozi\u021bii \u00een care se reflect\u0103 conflicte suflete\u0219ti, uneori lipsite de speran\u021b\u0103, alteori discret melancolice. Numeroase lucr\u0103ri stau \u00eens\u0103 sub semnul unor r\u0103spunsuri vizuale care aduc fa\u021b\u0103 \u00een fa\u021b\u0103 binele \u0219i r\u0103ul, fragilitatea \u0219i agresivitatea, memoria \u0219i uitarea, individul \u0219i presiunea social\u0103. Se contureaz\u0103 astfel un imaginar menit s\u0103 reveleze contexte existen\u021biale \u00eenc\u0103 tulburi \u00een societatea rom\u00e2neasc\u0103 actual\u0103, evit\u00e2nd seduc\u021bia facil\u0103 a gustului consumist \u0219i satisfac\u021bia imediat\u0103, adesea trec\u0103toare, a unui frumos pur decorativ.<\/p>\n\n\n\n

Cei care au r\u0103spuns mesajului cuprins \u00een genericul expozi\u021biei demonstreaz\u0103 c\u0103 desprinderea creatoare de trecut poate deschide posibilitatea unor construc\u021bii vizuale orientate c\u0103tre idealurile unor con\u0219tiin\u021be aflate \u00een c\u0103utarea propriilor solu\u021bii estetice. Mesajele nu sunt \u00eendulcite \u0219i nici idealizate din perspectiva unui frumos absolut; dimpotriv\u0103, ele \u00ee\u0219i asum\u0103 asperit\u0103\u021bile prezentului. \u00cen lucr\u0103rile celor nou\u0103 tineri arti\u0219ti se poate observa \u0219i familiarizarea cu un tip de expresie pictural\u0103 asociat \u0218colii de pictur\u0103 de la Cluj, recunoscut\u0103 at\u00e2t \u00een Rom\u00e2nia, c\u00e2t \u0219i \u00een spa\u021biul artistic interna\u021bional, prin arti\u0219ti precum Adrian Ghenie, Victor Man, Ciprian Mure\u0219an sau \u0218erban Sava, dar \u0219i cu formule personale, precum cea a Ecaterinei Vrana. Expozi\u021bia reune\u0219te individualit\u0103\u021bi cu un poten\u021bial creativ demn de luat \u00een seam\u0103, pentru care metafora punctului de inflexiune ofer\u0103 \u0219ansa valoriz\u0103rii unui bagaj tehnic \u0219i cultural acumulat \u00een anii de formare. Acesta st\u0103 la baza unui ansamblu de norme personale prin care t\u00e2n\u0103rul artist este chemat s\u0103-\u0219i gestioneze lucid propriul crez \u00eentru frumos, s\u0103-\u0219i g\u0103seasc\u0103 identitatea prin art\u0103 \u0219i, \u00een special, prin pictur\u0103. Reg\u0103sirea de sine presupune \u0219i descoperirea acelor c\u0103i prin care practica artistic\u0103 se poate elibera de rutin\u0103, automatisme \u0219i formule \u00eendelung repetate. Inflexiunea nu mai este, astfel, doar o proprietate a curbei, ci semnul unei maturiz\u0103ri: momentul \u00een care acumularea se transform\u0103 \u00een alegere, iar alegerea \u00eencepe s\u0103 configureze o identitate artistic\u0103 proprie. \u00cen aceast\u0103 perspectiv\u0103, expozi\u021bia func\u021bioneaz\u0103 \u0219i ca un prag \u00eentre perioada de formare \u0219i asumarea unei voci autonome, \u00een care experien\u021ba acumulat\u0103 este supus\u0103 unei necesare selec\u021bii critice, iar libertatea expresiei devine responsabilitate artistic\u0103. <\/p>\n","protected":false},"excerpt":{"rendered":"

Cronica plastic\u0103 de Aurel Chiriac<\/p>\n","protected":false},"author":22,"featured_media":16278,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[51,2589],"tags":[145,2588,2898],"coauthors":[1155],"class_list":["post-16277","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arte","category-cronica-plastica","tag-aurel-chiriac","tag-cronica-plastica","tag-nr-6-2026"],"jetpack_featured_media_url":"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2026\/09\/images.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/16277","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/users\/22"}],"replies":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=16277"}],"version-history":[{"count":1,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/16277\/revisions"}],"predecessor-version":[{"id":16279,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/16277\/revisions\/16279"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/media\/16278"}],"wp:attachment":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=16277"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=16277"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=16277"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=16277"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}