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40 YEARS OF THEORETICAL ART
The ability to reconnect with "the theoretical state" has given Cristian Todié a plastic vocabulary that, from the fundamental sound makes its chords.
Cristian Todié practiced converting biographical material into material for artistic expression. It demonstrates the desire to conduct an entire experience.
« After twenty-five years dedicated to the study of plastic art, I renounce this filial relation to geometry. Long obscured, it prevented my blossoming into purely visual art.
I have lived all my life this psychosis, confusing my being to this morbid state, this paralysis of consciousness that now covers its full motor and gives me the benefit of an agony that has not succumbed to any ephemeral illusion for to go to the depths of one’s self, where one seldom returns.
The moment is opportune that allows a purely theoretical matter to be grasped in an intellectual work, removed from any voluminal obstruction and where the third dimension occupies a sensory space. The materialization of the volume at the cerebral level opens a flow of transmission which gives to my intention its deep ramifications up to the intangible, divine perception.
In Cristian Todié's work, the spiritual statement, spontaneously translated into linear studies, elaborates in the plane the third dimension.
Time is infinitely present
Our creation is illusory or elusive
Nobody will be able to seize it like a subtilisable object
Only until the metamorphosis
Let’s find our audience knowing that it does not exist
Let’s drop our anxiety into the creative joy of our own transformation
Let’s not waste our vitality on vain lucrative ends that ignore immateriality
Our creativity will give birth to monsters …
Already, the drawing reveals the sharpness of a vision that serves the sculptural mutation. "Geometric construction is the static form of idea development," he says. It gives body to the immaterial.
Nothing that is the result of a rigorous logic in this work where is reflected, nevertheless, a whole poetic space.
The capital work of humanity consists in the creation of a common theoretical state.
Its universality inspires us at the same time as it exercises its hold on us. Collective work of previous generations, it marks its ascendancy on our own modernity, and becomes a link and a way of approaching existence
The development of the theoretical state is rational but its evolution depends on the questioning of its axioms and the reformulation of its postulates.
Like the material state, he knows constant and profound changes.
Theoretical Art, product of an irrational potentiality, launches a challenge to materiality. Because, the work is original in its subtle abstraction and not in its real emulsion.
The effort of the artist is necessary for the conservation of his work in the first degree, likewise, the combined effort of the public towards aesthetic abstraction is essential to the initiation of an expression on the border of the irrational , of a pure expression, that the reason, the automatisms, the urgency of an integration did not begin.
Freedom in relation to rationality allows us conscious commitment, adopts the divine in our creation and nourishes it with its own confidence.
Historical, philosophical or artistic perspectives, eager to recover the original value behind arbitrary divisions and subdivisions, have produced balance sheets, debates, manifestos of all kinds. In his intervention, Cristian Todié, recalls that we must not substitute an order of speculation to a subtle value without being, previously, duly aware.
The measurable unity of the standard can not refute the irreducible reality of an absolute movement.
His analysis of the paradoxical phenomena of knowledge is the joint degree of a attested report on "infinitely present time" and of a theoretical-plastic synthesis of which here are the fragments of a study.
Literary work by Eugen Todié
Slaves Earth, Bucharest, 1913 Edition (One Love), Bucharest, 1919 Lyrics from Captivity, Crefeld, 1917-1918 "With Sorcova" Crefeld 1918 Bucket of Satan, Bucharest, 1925 Bucharest edition, 1957 Pacala Millionaire, Bucharest, 1936 Look Popa Popa Văleni not, Bucharest, 1936
Protrusions
"The cyclical evolution of universal elements, imperceptible in relation to the repetitive image that it suggests, inspires us, in our creative process, a logic materialized in a notion:" Time ". This notion gives the human enterprise its pace. In the grip of his own creation, man limits his independence and oppresses even his freedom, to conclude to his rationality "
The work of art, in its existence, preserves the essence of abstraction. The work of Cristian Todié, integrating the same genesis, presents a novel notion that elevates creativity and removes its randomness. A definition, in usual terms, can not be applied to a plastic construction with no temporal value. The intention is therefore to escape a too punctual appreciation.
The artistic personality, which in itself represents the object and the subject, is the fundamentally creative basis.
International
Fractures
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The act of creation, after drafting the first signs in an already past present, ceases to be identifiable. The artist, continuing to live his creation, inscribes this act in an unpredictable future.
If a volume of paper with a hand printed on each sheet is shifted slightly, one sheet in relation to another, then slicing it will reveal a left and right hand in the slice.
The most miraculous moment I ever experienced took place one morning when a rope bracelet I had previously attached to my left wrist appeared on my right wrist. From that morning’s surprise it crossed my mind that my work on symmetry was not a coincidence and that symmetry in nature would sooner or later have an explanation about the symmetries of life and their relation to a central plan reflecting the two hemispheres.
Student, he is too independent and facing the theoretical data, remains selective. His true will is affirmed in scientific subjects and plastic arts.
In 1975, he left Romania and moved to Paris where he continued his apprenticeship in art. It will have to evaluate its « irrational » capital to perpetuate its creation.
The geometric hold will lead him to the development of a plastic work, to the objectification of a mathematical thought, intellectual, where artistic and Cartesian elements clash without the ascendancy of a system.
For greater fidelity towards the artist and his thematic universe, we privilege a space punctuated by images, collected words. Examples that support the formal intent given to this study.
The biography of Cristian Todié, Romanian painter-sculptor, is particularly significant. The beginnings of his art belong to an early childhood initiated.
At the time of babbling, he learns a language in abstract terms, that of painting.
It’s a sweet initiation, a rich period of acquisitions.
On this basis, discreetly modeled on the models of the great painters, he will establish his creativity and, later, his « subversive force ».
The favorably chosen moment of pampered and modest childhood, for this initiation, will bring him without impatience until the detachment of his own individuality.
"From collective ideologies to the birth of the modern artist, God is eminently present, not in his consecrated image but in his spiritual dimension and his power to drag man out of his corporeality.
... I do not want to authenticate the pagan story of art in a more or less mystical statement, nor to fabricate ideologies.
My position is orthodox because of its fidelity to the history of art. It is marginal when it places creation in a theoretical framework.
Our story
An anxiety is sometimes born in the artist to know if the fruit of his work is grasped in his immediate or "essential" reality.
The work has its effective resonance beyond the objectivity of the medium.
It is not a body surrounded in its material unity. The intelligence of the eye goes beyond the contours of the object, whose course is a sensitive alignment, an immediate, intuitive extraction of the point, plane, dynamic variations of matter.
An ambiguity comes from the fact that the artistic act that is the fact of an individual, finalizes the macrocosmic extension of creation. It is perhaps from this that comes the tendency to see in the object, to neglect the sphere for the circle.
This justifies the approach, not only of the object of art in question, but also of its creator.
Patented invention
Todiebook
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Jewelery trees
Gemon Art Project
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