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Ioana Ştefania Tănăsescuioanas.tanasescu@yahoo.com     (+4).0740.031.130       Evolution.
With all my love and gratitude to:   Ioana and Radu Tănăsescu,        Alexandru Lupu,         Alain Bourges,       Daveed ...
Project La Souffrance, plaster, ~80 cm, 2009/2010, Rennesstudy, clay, ronde-bosse, 170 cm, 2008
PRESENTATION 2009/2010Chaque travail doit reposer sur une base solide. Pour arriver à existerpar ellemême chaque forme, fi...
La période baroque surtout Caravaggio avec ses modelés (les                                        prostituées , les cadav...
Study, clay, ronde-bosse, 65 cm, 2006plaster, ~80 cm, 2009/2010
plaster, ~80 cm, 2009/2010Study, clay, ronde-bosse, 65 cm, 2007
plaster, ~80 cm, 2009/2010
Ioana a passé un an à lécole des beaux-arts de Rennes.            Jai eu lhonneur dêtre son professeur. En toute honnêteté...
Origins, clay and wood, relief, 50 cm, 2007plaster, ~80 cm, 2009/2010
STONE.Origins, clay and wood, relief, 55 cm, 2007
Untitled, stone, 60 cm, 2005                               Origins, clay and wood, relief, 50 cm, 2007
Origins, clay and wood, relief, 15 cm, 2007   Meditation, stone and wax, 70 cm, 2008
Origins, clay and wood, relief, 20 cm, 2007Knowledge, stone, 60 cm, 2009
CERAMICS.
Blind, alabaster, 50 cm, 2009                                Hunchback, bronze, 30 cm, 2010
BRONZE.
Personaj, bronze, 60cm, 2011   Detail, bronze, 2011
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Portofoliu 20 oct 2011 var 2

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Portofoliu 20 oct 2011 var 2

  1. 1. Ioana Ştefania Tănăsescuioanas.tanasescu@yahoo.com (+4).0740.031.130 Evolution.
  2. 2. With all my love and gratitude to: Ioana and Radu Tănăsescu, Alexandru Lupu, Alain Bourges, Daveed El Harrar, Ovidiu Cacuci.
  3. 3. Project La Souffrance, plaster, ~80 cm, 2009/2010, Rennesstudy, clay, ronde-bosse, 170 cm, 2008
  4. 4. PRESENTATION 2009/2010Chaque travail doit reposer sur une base solide. Pour arriver à existerpar ellemême chaque forme, figurative ou non, doit être bien étudiée etanalysée. Les textures , les lignes , la taille. La plus intéressante pourmoi , est celle du corps humain. Chaque forme ayant une essence , àchaque vide correspond un plein. La question posée porte sur le “bienfait , mal fait , et parfait”.Personnellement je me trouve sur la route de la connaissance etde la conscience d’enjeux qui se développent autour du corps et de cequil sous-tend. L`homme et son histoire , l`humanité et son histoire. Laquestion du bien et du mal ,de la violence et de la paix. Je minterrogebeaucoup sur le rôle de l`art et de l’artiste dans notre époque. L`art doit-il critiquer , doit-il être politique ? Émotionnel? Personnel?Que doit-ilmontrer ? Si on aborde le sujet du passé, de la guerre , de la souffrance ,est ce trop fort? C`est pour cela que ma recherche est aussi une étuded`histoire et des formes. Les expressions du visage , les yeux qui videset morts mais qui regardent quand même. Les corps contorsionnés et lesbouches contractées. A mon avis , sans explorer le passe, il estimpossible d`arriver a vivre aujourdhui.Finalement, j`ai décidé d`aborder le figuratif , avec toutes les risquesassumes.Mes sources d`inspiration ont été les livres les films, les documentaireset surtoutles voyages qui sont plus personnels . Les gens que j`ai rencontré etleurs histoires. Des realisateurs de film , comme Ingmar Bergman , PierPaulo Pasolini, Cristian Mungiu, Roman Polanski …etc sont unegrande inspiration et leur œuvre pour moi , la base d`une culturecinématographique, des artistes comme Bill Viola , Nam June Paik,Jean Luc Godard, Bruce Nauman une importante sourcevideographique ; Ian Faber , Boltanski , Perjovski , Jericho , FrancisBacon , Jan Fabre,Marina Abramovic, me donnent une visiond`ensemble plus nette. Study, clay, ronde-bosse, 70 cm, 2007
  5. 5. La période baroque surtout Caravaggio avec ses modelés (les prostituées , les cadavres) , et l`histoire de sa vie est un autre de mes centres d`intérêt. Avec toutes les caractéristiques de lart Baroque : la tragédie , le sentiment paroxystique , les diagonales , la théâtralité….etc. Maintenant , pour créer la liaison entre "hier et aujourdhui" , une petite conclusion sur le contexte politique dans mon pays : Actuellement , la situation en Roumanie se trouve dans un déclin total . Même si on a dit que l`histoire ne se répète jamais, les racines du communisme nont pas été complétement détruites, au contraire, elles ressurgissent dans la vie actuelle. Traian Basescu , le président de la "République Démocrate" a décidé la baisse des salaires des 25 %(dans le même temps , le buget des politiciens a considérablement augmenté). Ainsi la population va retraverser la même misère quavant. La décision va toucher les prochaines trois générations! Nos enfants et petits-enfants seront touchés. Malheureusement, personne ne fera rien pour arrêter cet horrible processus. En conclusion, le sujet que j`avait choisi, touche à la fois le présent et le passé. La souffrance, la faim, la pauvreté! Donc, il est presque impossible pour moi en tant que personne et que jeune artiste, d`atteindre une vision plus optimiste. Je peux seulement essayer de montrer le monde à travers mes yeux et peut être, si j`ai la chance, changer 1 % du mentalité des jeunes roumains.Study, clay, ronde-bosse, 65 cm, 2007
  6. 6. Study, clay, ronde-bosse, 65 cm, 2006plaster, ~80 cm, 2009/2010
  7. 7. plaster, ~80 cm, 2009/2010Study, clay, ronde-bosse, 65 cm, 2007
  8. 8. plaster, ~80 cm, 2009/2010
  9. 9. Ioana a passé un an à lécole des beaux-arts de Rennes. Jai eu lhonneur dêtre son professeur. En toute honnêteté, parmi tous les étudiants de 2ème année, elle a été la plus régulière et appliquée. Jai été impressionné par sa maîtrise du français (et de lespagnol!) et sa disponibilité. Cest sans doute la première fois, depuis que des étudiants venus dans anciens pays "de lEst" sinscrivent à lécole de Rennes, que jai eu le sentiment dune véritable compréhension mutuelle. Au cours de cette année à Rennes, Ioana a pris conscience des enjeux dun travail artistique, tels quon les considère en France. Cela na pas été sans remises en question, sans périodes de doute, sans difficultés, mais cette phase a été essentielle dans son évolution. Grâce à sa connaissance des langues, sa capacité découte, son honnêteté et son intelligence, Ioana a su ne pas juger, ne pas rejeter, ne pas baisser les bras. Elle a entendu ce qui lui était dit ici, en France, et sest rappelée de ce que lon avait dit avant, en Roumanie. En dépit des difficultés que pose lécart entre des histoires artistiques différentes, sa sensibilité lui a permis dêtre juste. Parfois maladroite, mais juste. Sa découverte de la vidéo, après un apprentissage de la sculpture en Roumanie, a constitué un grand pas. Il reste des milliers de choses à expérimenter et surtout une place, une position, un regard à assumer. Jespère quelle aura la possibilité, en Roumanie, de poursuivre ce quelle a commencé en France et quelle trouvera des interlocuteurs. Quoiquil arrive, lécole de Rennes lui reste ouverte.CLAY. Mais la suite lui appartient.(studies) Alain Bourges
  10. 10. Origins, clay and wood, relief, 50 cm, 2007plaster, ~80 cm, 2009/2010
  11. 11. STONE.Origins, clay and wood, relief, 55 cm, 2007
  12. 12. Untitled, stone, 60 cm, 2005 Origins, clay and wood, relief, 50 cm, 2007
  13. 13. Origins, clay and wood, relief, 15 cm, 2007 Meditation, stone and wax, 70 cm, 2008
  14. 14. Origins, clay and wood, relief, 20 cm, 2007Knowledge, stone, 60 cm, 2009
  15. 15. CERAMICS.
  16. 16. Blind, alabaster, 50 cm, 2009 Hunchback, bronze, 30 cm, 2010
  17. 17. BRONZE.
  18. 18. Personaj, bronze, 60cm, 2011 Detail, bronze, 2011

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