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Essay about preservation

Artist: Dan Pierşinaru

Curator: Diana Dochia

13.04.2006 – 11.05.2006

Opening: 13.04.2006 at 07:00 p.m.

How many times are we really “inside?” Most often we are content to look from the exterior at the people around us, to examine the world, life…

The jar – a normal (common) object that creates its own space. An object space in which we can enter realms of enigma, absence, memory, exchange, ideas, artificiality and stylization of dreams.

A pedestrian object like the jar transcends its functional role and becomes a tool for introspection if one takes the time to look and examine What it holds; we are forced to consider our own desires: the desire to preserve something in its present state for later use, for later viewing, for later study or examination, for pleasure, for the sake of fascination and for the satisfaction of controlling the omni-powerful process of decay. Along with preservation for the sake of memory, one must admit the impetus to implement captivity. Its contents are totems of our own desires, likes and fascinations as well as material testaments of our actions and abilities. Visually tense and conceptually challenging, the following images take these totems, and our fascinations with them, and attempt to call on our notion of captivity and entrapment. An egg placed in a jar, while its nest stands above as a lid, is (at best) out of place; it is as absurd as it is cruel. The watery blue of the blank backdrop does not mitigate the discomfort this image inspires, it heightens it. Each image in the series examines the notion of entrapment in a transparent, contained space. The potato grows tendrils because that is the only function it has in the jar, to grow, over time, and be observed. May they not also be the only way out of the glass cage? The curious goldfish acquaints himself with the suspiciously convenient, thin, red string, seemingly his only escape. One wonders here about the actual function of captivity, a jar full of water versus the dry space found at the other end of escape.

The jar holds only the transparent space it creates within its circumference, until an object is placed in it. Once this occurs we can no longer think of a relationship between objects and space, but rather must consider a relationship between objects and persons. The jar transforms into a telling display case, betraying our desires, fascinations, memories and pretenses. The transparent container is now a surface reflecting back a piece of our own image (characteristic).

Andra Niţă, art critic

Press release – Essay about preservation, Dan Piersinaru