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| A doua personala a sculptorului Alexandru Pamfil se situeaza in continuitatea fireasca a directiilor jalonate de prima sa expozitie deschisa in 1986, relevand un temperament inclinat catre acumulari temeinic elaborate in disciplina muncii de atelier, ansamblul compozitiilor sale configureaza un univers in care formele se intrupeaza in ghips, metal sau piatra, intr-un atent dozaj de tehnica si inventie. O noutate fata de expozitia precedenta o constituie experienta taberelor de sculptura. Ea este evidenta in modul de conceptie al lucrarilor - multe dintre ele proiecte in ghips sau piatra - cu caracter monolitic, unde detaliile figurative, cu rol simbolic, creeaza o alternanta suprafetelor mari, incercand sa imbine intr-o trecere fireasca efecte ale cioplirii cu altele sugerand modeleul. Indiferent de repertoriul intrebuintat (subsumat in general ideii de "jertfa", semn memorabil, emblematic) aceste compozitii au ca tema plastica o evolutie structurala a volumelor, a pasajului de la planurile rigide la cele moi, organice - in esenta, fundamentalul dialog purtat de sculptor cu materia in procesul de organizare si de descoperire a ei totodata. O optiune constanta a lui Al. Pamfil ramane si in aceasta etapa bogata gama de procedee ce le dezvolta intr-o diversitate de compozitii pe baza vechii si mereu actualei tehnici a modelajului. Prezenta reliefurilor in expozitie este semnificativa din acest punct de vedere. Ele sunt concepute prin contrastul dintre planul bidimensional, unitar, al fundalului si etalarea relatiilor compozitionale ale unor motive ca figura umana, portretul, drapajul, dand posibilitatea sculptorului sa se opreasca asupra unor elemente de finete, de puritate a formelor ("Actor cu draperie", etc.). Portretul este unul dintre genurile preferate ale lui Al. Pamfil, gen ale carui exigente si-au pus amprenta asupra mijloacelor sale plastice. Realizate in ghips, metal sau ceramica, portretele sale comunica privitorului o intensitate retinuta a trairilor interioare, o viata psihica bogata, subliniata de detaliul semnificativ inscris cu precizie ansamblului de volume. Remarcam in mod deosebit "Transfigurare", un portret realizat intr-un sensibil modeleu de tip pictural, cu un joc alert de plinuri si goluri ce urmaresc trecerea de la osatura la moliciunea formelor intr-o fluienta dezinvolta. Sculptura mica este prezenta prin lucrari cu rezolvari plastice diverse: de la aglomerari de forme - semn, forme tensionate in jurul unui ax central, la problema figurii umane cu incarcatura ei specifica de semnificatii. Ultima tema este transpusa in configurari de tipul "figurii-arabesc" ce include in constructia sculpturii expresivitati imprumutate din domeniul graficii. Este ceea ce imprima forta comunicativa unor lucrari ca "Umbre", "Dialog", receptate ca o caligrama in spatiul activ integrat astfel compozitiei. In aceeasi zona se situeaza si "Rege pe tron", cu o preocupare mai accentuata pe expresivitatea anatomica si a portretului; aici, suportul geometric al paralelipipedului din piatra pune in valoare prin contrast, forma organica descrisa de metal, subliniind un anumit firesc in concentrarea meditativa a figurii umane. Opozitia forma organica - forma geometrica, sugerand starea de coercitie a personajului prilejuieste semnificative combinatii intre ronde-bosse, relief si efecte de textura, in compozitii axate pe explorari ale expresivitatii materialului ("Jertfa", "Paravan", etc). Unitara ca viziune si diversificata ca preocupari, expozitia lui Alexandru Pamfil contureaza profilul unui artist preocupat de aprofundarea unor mijloace de expresie ce-l integreaza universului plasticii noastre contemporane. Mariana COCOS Catalog expozitie personala Alexandru Pamfil, decembrie 1991 |
Alexandru Pamfil's second one-man show joins the natural continuity of the trend shaped out by his first show of 1986, revealing a temperament bent on thoroughly elaborated accumulations in the studio discipline: the ensemble of his compositions configures a universe in which shapes take substance in plaster, metal or stone, within a careful dosage of technique and invention. One novelty would be the experience of sculpture camps, obvious in the way he conceives his works - many of them projects in plaster or stone - of a monolithic character, where figurative details, playng a symbolic role, create alternate large surfaces, trying to naturally combine carving effects with effects suggesting the modeling. Irrespective of the repertoire (generally subsumed to the idea of "sacrifice", a memorable, emblematic sign), these compositions deal with the plastic theme of the structural evolution of volumes, the transition from stiff planes to soft, organic ones essentially, the basic dialogue between the sculptor and the material, while organizing and discovering the latter. One of Alexandru Pamfil's constant options is at this complex stage the range of techniques he develops in a diversity of compositions starting from the old but at the same time modern modeling technique. The presence of reliefs in the show is quite significant from this point of view. They are conceived by contrasting the between the bi-dimensional unitary plane of the background and the compositional relations of such motifs as the human face, the portrait. and the drapery,allowing the sculptor to focus on several finesse and purity elements of the shapes ("Actor with Drapes", a.s.o.). The portrait is one of Alexandru Pamfil's favourites, a species whose exigencies have marked his plastic means of expression. Made of plaster, metal or ceramics, his portraits share with the viewer a constrained intensity of feelings, a rich psychic life, delineated by the significant detail within the ensemble of volumes. Special mention deserves "Transfiguration", a portrait achieved in a sensitive modeling of the pictorial kind, with a vivid game of fullness and emptiness which focus on the transition from the hardness to the softness of shapes in an unrestrained fluency. The small sculpture is there in works that involve various plastic solutions: from clusters of shapes - sign, tense shapes around a central axis, to the human face with its load of significance. The last theme is transposed in "arabesque figure" configurations including in the sculpture expressions borrowed from graphics. That is what gives communicative force to such works as "Shadows", "Dialogue", seen as a caligramme in the active space within the composition. "King on the Throne" belongs in the same area, more bent on the anatomic expressivity and that of the portrait; here, the geometrical support of the stone parallelipiped points out stand out by contrast the organic shape of the metal, showing a certain naturalness in the meditative concentration of the human face. The organic organic shape - geometrical shape dichotomy, suggesting the character's coercion state, gives rise to significant combinations among ronde-bosses, reliefs, and texture effects in compositions focusing on the exploration of expressiveness of the material ("Sacrifice", "Screen" a.s.o.) Unitary in point of vision and diverse in point of concerns, Alexandru Pamfil's show shapes out the profile of an artist who wants to make the most of certain means of expression which integrate him in the universe of our contemporary plastic art. Mariana COCOS Alexandru Pamfil's one-man show catalogue, December 1991 |
E-mail: alexandru pamfil |