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ALEXANDRU PAMFIL
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    Alexandru Pamfil, la Galeriile "Dana" din Iasi


    Sculptorul Alexandru Pamfil, muzeograf principal la Muzeul de Arta Vizuala din Galati, este originar de pe meleagurile iesene, fiind nascut in satul Orzeni, comuna Holboca (24 februarie 1953). A studiat la Liceul de Arta "Octav Bancila" din Iasi si apoi la Institutul de Arte Plastice "Ion Andreescu" din Cluj-Napoca, pe care la absolvit in 1979, an cand s-a stabilit in Galati. De-a lungul timpului, a participat la numeroase expozitii locale, nationale si internationale, la tabere de creatie, a obtinut Premiul III la Bienala de sculptura mica "Dantesca" de la Ravenna, Italia (1992), Premiul "Constantin Popovici" pentru sculptura la Concursul National de Pictura, Grafica, Sculptura si Arta Decorativa "N.N. Tonitza" de la Barlad (2001), detine din 2004 Ordinul Meritul Cultural in rang de Cavaler, Categoria C, Arte Plastice, iar in Galati si-a deschis trei expozitii personale la Galeriile "Nicolae Mantu" (1986, 1991, 1993). Acum, dupa 16 ani de la ultima personala, el s-a reantors in Iasul adolescentei sale, deschizand aici o prima expozitie personala in spatiul generos al Galeriilor de Arta "Dana", de pe strada Alexandru Lapusneanu nr. 7 - 9.

    Vernisata in ziua de 16 februarie 2009 a.c., expozitia cuprinde 42 de lucrari de sculptura (35 ronde-bosse-uri + 7 reliefuri) si 30 de desene in tus. Este o selectie care marcheaza traseul strabatut de artist in evolutia sa, de la sculptura realista, bazata pe un modelaj aproape clasic, pana la compozitiile semiabstracte si a celor care poarta amprenta limbajului expresionist. Folosind materiale diferite pentru a-si exprima gandurile si sentimentele, pentru a-si materializa ideile (bronz, alama, zinc, aluminiu, duraluminiu, piatra, marmura, ghips patinat, lemn de nuc, de frasin, de cires, de migdal etc.), Alexandru Pamfil dovedeste o foarte buna intelegere a fiecaruia. Fie ca modeleaza sau ciopleste direct, el construieste forme si volume cu rigoare, utilizeaza cu ingeniozitate potentialul expresiv al materialului, sintetizeaza, stabileste raporturi echilibrate intre suprafetele linistite si cele tensionate, intre plinuri si goluri, gaseste ingenioase echivalente plastice cu valoare de metafora si simbol.

    Autor al unei adevarate galerii de portrete, unele cu identitate in realitatea istorica si culturala romaneasca, altele reprezentand chipuri care exprima o anumita categorie sociala, figuri din imediata proximitate a artistului sau pur si simplu fapturi anonime, sculptorul este preocupat in demersul sau de sondajul pshiologic, de punerea in valoare a unor trasaturi morale ale personajelor. Portrete precum "Carturarul I", "Mircea cel Batran", "Sergiu", "Portret de barbat", "Portret de fata", "Transfigurare", "Arlechin", "Autoportret", "Actor" exprima o bogata viata launtrica, trairi la intensitati maxime, o cufundare adanca in lumea gandurilor. O vadita nota de neliniste, de zbucium sufletesc se citeste in modelarea uneori accidentata, in suprafetele cu multe excrescente. Alteori, formele sunt mult simplificate, linia curbelor este eleganta, suprafetele sunt slefuite pana la perfectiune ("Printesa", "Bust de fata", "Portret de femeie").

    Intr-o suita de compozitii artistul ii infatiseaza pe protoparintii omenirii, Adam si Eva ("Adam si Eva", "Inceputuri"), se inspira din "Divina Comedie" a lui Dante Alighieri, accentuand drama conditiei umane ("Prin Infern", "Dialog", "Enigma"), celebreaza maternitatea ("Maternitate I, II"), obiectiveaza ideea de sacrificiu si sacralitate ("Sacrificiu I, II", "Altar I, II"), construieste cu geometrii in stil baroc ("Metamorfoza I") sau ajunge la imagini-metafore cu o bogata incarcatura semantica ("Catene", "Compozitie cu maini", "Intersectie", "Urme", "Metamorfoza II, III"). Nu lipsesc din repertoriul lucrarilor din expozitie teme de natura folclorica ("Sezatoare") si acele grupuri statuare care pot sta la baza unor lucrari de arta monumentala care sa decoreze spatii publice ("Ecvestra", "Cavaler si cal"). In multe cazuri, Alexandru Pamfil alungeste personajele, le descarneaza, incat acestea au infatisari stranii. Miscarea pasilor lor este ezitanta, nesigura, ceea ce sugereaza fragilitatea fiintei umane, prefigurarea unui destin aflat sub semnul incertitudinii. Uneori, artistul simplifica corpul uman prin amputarea bratelor sau prin inscrierea lui in spatiu aidoma unei umbre. Alteori, volumele exprima solidaritatea umana, configurata in ronde-bosse-uri care, desi nu sunt de mari dimensiuni, au o structura monolitica, dau senzatia de greutate si de monumental.

    In desenele executate in tus intalnim in majoritate cam aceleasi motive din sculpturile artistului: portrete de barbati si femei, nuduri, instrumentisti, scene familiale, compozitii cu cai, personaje in ipostaze si atitudini diferite. Multe sunt schite ale unor lucrari destinate pentru a fi transpuse in material definitiv. Linia este viguroasa, sintetica, sculpturala, trasata cu o tusa puternica. Din randul desenelor am aminti pe cele doua in care il recunoastem pe mult regretatul istoric Paul Paltanea sau pe cele intitulate "Stefan cel Mare", "Bunica", "Bust de barbat", "Case", "Fata cu vioara I", "Nud II", "Suferinta".

    Consecvent si exigent cu el insusi, stapan pe tehnicile sculpturii (lucrarile din metal si le-a turnat singur), artist din stirpea celor care nu indraznesc sa "striveasca corola de minuni a lumii", ci doar "sa sporeasca a lumii taina" (Lucian Blaga) prin plasmuirile sale, Alexandru Pamfil a dovedit si cu aceasta expozitie personala de la Iasi ca dispune de un potential creativ superior, ca este un factor dinamizator al miscarii plastice de la Dunarea de Jos si un important pilon de sustinere a acesteia.

    Corneliu Stoica
    "Dunarea de Jos", Nr. 86, pag. 45, Aprilie, 2009

    Alexandru Pamfil at Dana Gallery in Iasi


    Sculptor Alexandru Pamfil, a specialist in museography working at the Museum of Visual Arts in Galati, comes from the Iasi area - he was born in the village of Orzeni, the commune of Holboca (24 February 1953). He attended Octav Bancila Art High School in Iasi and Ion Andreescu Institute of Fine Arts in Cluj-Napoca which he graduated from in 1979, when he settled in Galati. Throughout time he has taken part in numerous local, national and international exhibitions, as well as creative camps, getting The Third Award at Dantesca (the small sculpture biennial exhibition in Ravenna, Italy, 1992), The Constantin Popovici Award for Sculpture at the Nicolae Tonitza Painting, Graphics, Sculpture, and Decorative Art (Barlad, 2001); in 2004 he received the Order of Cultural Merit (the C Knight Rank), and in Galati he opened three one-man exhibitions at Nicolae Mantu Gallery (1986, 1991, 1993). Now, after sixteen years since his first one-man, he went back to the Iasi of his adolescence, opening his first one-man exhibition in the generous space provided by Dana Art Gallery, at 7-9 Alexandru Lapusneanu St.

    Varnished on 26 February, 2009, the exhibition included 42 sculptures (35 ronde-bosses plus 7 reliefs) and 30 drawings in Indian ink. It was a selection that marked the distance covered by the artist in his evolution, from realistic sculpture, based on almost classical shaping, to semi-abstract and expressionistic compositions. Using various materials in order to express his thoughts and feelings, and to materialize his ideas (bronze, brass, zinc, aluminum, duralumin, stone, marble, patinated plaster stone, oak, ash, cherry, almond wood, etc.), Alexandru Pamfil proves he understands each of them very well. Whether he shapes or sculpts directly, he creates forms and volumes rigorously, ingeniously uses the expressive potential of the material, synthesizes, finds balanced relations between quiet and tense surfaces, between full and empty spaces, and provides ingenious plastic equivalences as metaphors or symbols.

    The author of a large gallery of portraits, some taken from the Romanian cultural and historical reality, others from certain social categories, people from the artist's proximity or just anonymous figures, in his approach the sculptor is very keen on psychological insight, on pointing out his characters' moral traits. Portraits such as Scholar I, Mircea the Old, Sergiu, Man's Portrait, Girl's Portrait, Transfiguration, Harlequin, Self-Portrait, Actor, show a rich inner life, intense states of mind, and deep probing of the world of thoughts. An obvious sign of restlessness and anxiety can be found in the sometimes rough shape, in the surfaces with many outgrowths. Other times the forms are oversimplified, the curves are elegant, and the surfaces are polished to perfection (The Princess, Girl's Bust, Woman's Portrait).

    In a series of compositions, the artist shows the proto-parents of humanity, Adam and Eve (Adam and Eve, Beginnings), draws his inspiration from Dante Alighieri's Divine Comedy, stressing the drama of human condition (Through the Inferno, Dialogue, Enigma), celebrates maternity (Maternity I, II), objectifies the idea of sacrifice and sacrality (Sacrifice I, II, Altar I, II), builds baroque geometries (Metamorphosis I), or creates metaphor-images with a rich semantic load (Chains, Composition with Hands, Intersection, Traces, Metamorphoses II, III). The repertoire of the exhibits also includes folklore themes (Evening Sitting) and those statuary groups that can always be the starting point for works of monumental art meant to decorate public spaces (Equestrian, Knight with His Horse). In many cases, Alexandru Pamfil lengthens his characters and emaciates them so that they turn into strange appearances. Their footsteps are hesitant, uncertain, which suggests the frailty of the human being, the pre-figuration of a destiny under the sign of uncertainty. At times, the artist simplifies the human body by amputating its arms or by placing it in space as if it were a shadow. Other times, the volumes express human solidarity, configured in ronde-bosses which, although not very big, have a monolithic structure and give the impression of much weight and monumentality.

    In the Indian ink drawings, we generally come across the same motifs of the artist's sculptures: men's and women's portraits, nudes, musicians, family scenes, horses, and characters in various situations and poses. Many of them are sketches of works designed to be transposed into definitive material. The line is vigorous, synthetic, sculptural, and in strong touches. Those in which we recognize the late historian Paul Paltanea or those entitled Stephen the Great, Grandmother, Man's Bust, Houses, Girl with a Violin I, Nude II, Suffering, deserve special attention.

    Consistent with and demanding of himself, mastering the techniques of sculpture (he casts his metal works himself), an artist of the same extraction as those who do not dare to "crush the world's corolla of wonders", but only "increase the world's mystery" (Lucian Blaga) through their creations, Alexandru Pamfil proves by this one-man exhibition in Iasi that he has a superior creative potential and is a stimulating factor of the artists' movement in the lower Danube area, one of its important pillars.

    Corneliu Stoica
    "Dunarea de Jos", 86, p. 45, April, 2009


    E-mail: alexandru pamfil

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