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ALEXANDRU PAMFILNascut in zona Iasului, Alexandru Pamfil a urmat aici Liceul de Arte pentru ca apoi sa studieze sculptura la Institutul de Arte Plastice "Ion Andreescu" din Cluj, astfel incat formatia sa a beneficiat de zestrea traditionala a celor doua centre culturale, combinand un discret lirism specific Moldovei cu o anumita rigoare venita de pe plaiurile Ardealului. Astfel, Iasul si Clujul au contribuit in egala masura la formatia sa, desi putem presupune ca tiparele generice amintite mai sus corespund totodata si unei structuri interioare a artistului. Preferinta pentru un anumit profesor, cum se intampla adesea, nu-i greveaza demersul creator desi scoala, in ansamblu, a avut o importanta deosebita in modelarea propriei personalitati prin reperele create. Nici arta romaneasca sau universala nu inseamna un loc al optiunilor subiective ci doar un vast atelier unde pot fi studiate diferite rezolvari plastice pentru a prelua apoi ceea ce este mai potrivit in configurarea propriei evolutii. Urmarindu-i diferite etape ale creatiei remarcam o deschidere egala catre intregul domeniu al sculpturii; toate genurile si tehnicile il atrag si le-a abordat in cei 30 de ani de activitate artistica cu aceeasi rigoare. Portretul, compozitia, sculptura mica, sculptura monumentala, modelajul si tehnicile de turnare in metal, cioplitul lemnului, pietrei sau al marmurei toate l-au interesat, au constituit pentru el un domeniu ce merita a fi explorat cu daruire si inventivitate. Exista in aceasta predispozitie echidistanta a sculptorului fata de genuri si tehnici o atitudine aparent paradoxala, care exclude prea mult subiectivitatea tocmai intr-un domeniu propriu subiectivitatii- cel al artei. La o cercetare mai atenta intelegem ca ea este insa rodul unui spirit exigent cu sine insusi si pasionat in descoperirea unor expresii tehnice si compozitionale cat mai adecvate mesajului plastic imaginat de artist. Experienta taberelor de creatie, vizibila atat in lucrarile ample cat si in altele de dimensiuni mai mici, arata preferinta pentru compozitii cu volume adunate, tinzand spre monolitic si spre sintetismul "semnelor". Accentul este pus pe inlantuirea volumelor in spatiu, pe ritmul generos al formelor cu planurile lor articulate, ritm intrerupt de mici interventii, detalii ce retin privirea, evitand astfel orice posibila monotonie. Constructivismul acestui tip de lucrari, de o monumentalitate arhitecturala, este dublat intotdeauna de intelegerea sensibila a materialului sau, altfel spus, de un raport bine echilibrat intre structura si organicitatea formelor. Reintalnim coordonate asemanatoare si in plastica mica a artistului, gen practicat permanent de Alexandru Pamfil in paralel cu sculptura monumentala si cu portretul. De altfel, aceasta permanenta predispozitie pentru sculptura mica reiese si din frecventele participari la manifestarile nationale si internationale din domeniu. In ceea ce priveste plastica mica putem identifica doua tipuri de compozitii in creatia lui Alexandru Pamfil: cele in care continua dominante ale sculpturii monumentale, cu forme abstracte, simplificate, unde mici detalii figurative se insereaza in mod firesc si cele unde figura umana este determinanta in constructia ansamblului. Primele sunt realizate frecvent in piatra, marmura sau lemn, iar tehnica cioplirii folosita de artist le da o nota arhaica, de semn ancestral, pus in evidenta de simplitatea volumelor; prin modul lor de articulare ele par a apartine in egala masura arheologiei sau etnografiei, sugerand nu doar o motivatie plastica ci si bogate semnificatii ascunse, nerecuperate integral. Ele pastreaza structura monumentala a lucrarilor de dimensiuni mari, lasand o impresie puternica asupra privitorului ("Altar", "Intersectie", "Semne I", "Metamorfoza", etc...). Daca in sculptura monumentala artistul manifesta ( nu exclusiv, desigur) preferinta pentru abstract, in plastica mica figura umana este aproape intotdeauna prezenta. Cele doua serii de lucrari par foarte diferite. Descoperim insa la o privire mai atenta ca si lumea personajelor create de artist sta sub semnul unei ordonari a formelor geometrice, acestea depasind semnificatia de simple repere vizuale si capatand incarcatura unor concepte ale existentei. Exista o diversitate remarcabila a temelor preferate de autor. Cele legate de zona cultural- istorica il predispun pe artist spre compozitii unde frontalitatea personajelor si practica nuntata a simetriilor da imaginii un hieratism sugerand perenitatea unor valori morale ("Carturar", "Mircea cel Batran", "Sezatoare", etc...). Intr-o alta suita de lucrari sculptorul valorifica din plin subtilitatile tehnicii modeleului, configurand un univers unde se contopesc elemente expresioniste si accente suprarealiste intr-o viziune tulburatoare asupra fiintei umane. Personaje filiforme, amintind de idolii cicladici, sau altele metamorfozandu-se sub ochii nostri din tridimensional in forma aplatizata, supusa rigorii geometrice sunt cateva din ipostazele sub care se perinda in fata noastra intrupari ale unor meditatii incarcate de simboluri ("Dialog", "Enigma", "Inceputuri", "Prin infern", "Umbra", "Urme", "Conflict", "Conversatie", etc...). Angajarea spatiului, a golului ca element activ in constructia sculpturii, trecerile de la formele organice la cele geometrice prin intermediul modeleului accentueaza tensiunea lucrarilor dandu-le in acelasi timp si vitalitate. Reliefurile create de artist ca si sculptura mica dezvolta un deosebit rafinament in tratarea suprafetei, etaland o larga paleta de mesaje plastice ("Sacrificiu", "Paravan", "Relief", "Arlechin", etc...). Portretele lui Alexandru Pamfil au capacitatea de a reconstitui cu forta si expresivitate individualitati umane, gasind adesea sinteze emblematice ale formei care definesc personajul, preluand uneori intr-un mod propriu, cu multa inventivitate, ecouri din sculptura altor epoci. Volumele concepute cu severitate, refuzand intotdeauna schematismul decorativ facil, sunt incalzite de un modeleu sensibil care da viata personajului ("Portret de barbat", "Portret de femeie", "Autoportret", "Sadoveanu", etc...). Rigoarea si acuratetea executiei tehnice, capacitatea de a pune in valoare calitatile plastice ale materialului, claritatea conceptiei compozitionale dar si modul in care volumele si formele sculpturilor sale iau in stapanire spatiul, fac din creatia lui Alexandru Pamfil un univers artistic inconfundabil, cu incarcaturi simbolice si semnificatii umane de o mare bogatie. Mariana Tomozei Cocos, critic de arta "PAMFIL", album de arta, editura Dana art, Iasi, 2009 |
ALEXANDRU PAMFILBorn in the county of Iasi, Alexandru Pamfil attended art school in Iasi and then studied sculpture at "Ion Andreescu" Art Institute in Cluj, therefore he benefited from the traditional fortunes of the two cultural centers, blending a discreet lyricism characteristic of Moldavia and a certain Transylvanian rigor. Thus, Iasi and Cluj equally contributed to his background, although we might say that at the same time the above-mentioned generic patterns naturally fit the artist's inner structure. His preference for a certain teacher, as is often the case, does not undermine his creative approach although school, generally, played an important role in shaping his personality by the landmarks it imposed. Neither Romanian art nor world art means a place of subjective options - they are only a vast studio in which one can study various plastic solutions in order to borrow what is most suitable for the configuration of his own evolution. Reviewing the stages of his creative work, we can notice his equal availability for the whole field of sculpture; all genres and techniques attract him and he has dealt with them all during his thirty-year career with the same rigor. Portrait, composition, small sculpture, monumental sculpture, modeling, metal casting techniques, wood/ stone/ marble carving, have all tempted him and been a field worth exploring with devotion and inventiveness. There is in this equidistant predisposition of the sculptor for genres and techniques an apparently paradoxical attitude that excludes subjectivity too much in a field which naturally belongs to subjectivity - art. At a closer look, we can understand that it is the result of a spirit very strict to itself and keen on discovering technical and compositional expressions as suitable as possible for the artist's plastic message. The experience of creative camps, which is obvious both in his massive works as well as in some of his smaller ones, points to his preference for compositions of mixed volumes, tending to the monolithic and the syntheticism of "signs." The sculptor stresses the connection of volumes in space, the generous rhythm of shapes with their articulate planes, a rhythm that is interrupted by small interventions, eye-catching details, thus avoiding all kinds of monotony. The constructivism of this type of works, of an architectural monumentality, is always accompanied by the sensitive understanding of the material or, in other words, by a well-balanced relation between the structure and the organicity of shapes. We come across similar coordinates in the artist's small works, a genre that Alexandru Pamfil has constantly approached along with monumental sculpture and portrait. As a matter of fact this permanent predisposition for small sculpture is also shown by his frequent participation in national and international exhibitions. Regarding his small sculpture, we can identify two kinds of compositions in Alexandru Pamfil's works: those that include dominant characteristics of monumental sculpture, with abstract, simplified shapes, where small figurative details fit naturally, and those in which the human face is decisive for the construction of the whole. The former are frequently made of stone, marble or wood, and the artist's carving technique endows them with an archaic appearance, pointing to the ancestral, which is made obvious by the simplicity of volumes; the way they articulate themselves they seem to equally belong to archeology or ethnography, suggesting not only a certain kind of plastic motivation but also rich hidden meanings, which have not been wholly recovered. They preserve the monumental structure of massive works, leaving a powerful impression on the looker ("Altar", "Intersection", "Signs I", "Metamorphosis", etc...). While in monumental sculpture the artist shows (not exclusively, of course) his preference for the abstract, in small sculpture the human face is almost always present. The two series of works look quite different. At a closer look, however, we also discover that the world of the artist's personages is placed under the sign of a certain ordering of geometrical figures that go beyond the significance of mere visual landmarks and acquire the load of existential concepts. There is a remarkable diversity of themes that the artist prefers. Those linked to the cultural-historical field push the artist to compositions in which the personages' frontality and the subtle practice of symmetries provide the image with a hieratism suggesting the permanence of certain moral values ("Scholar", "Mircea cel Batran", "An Evening Sitting", etc...). In another series of works, the sculptor turns to good account the subtleties of the relief technique, configuring a universe in which expressionistic elements and surrealistic accents melt into a disturbing vision on humanity. Thread-like personages reminding one of the Kikladhes idols, or other personages changing under our very eyes from 3-D shapes into flattened ones, subject to geometrical rigor, are but some of the forms under which embodiments of meditations full of symbols reveal to the onlooker ("Dialogue", "Enigma", "Beginnings", "Through Hell", "Shadow", "Conflict", "Conversation", etc.). Using space, the void as an active element in the construction of the sculpture, passing from organic forms to geometrical forms by means of the relief technique, he enhances the tension of the works at the same time providing them with vitality. The artist's reliefs, as well as his small sculptures, show a special refinement in dealing with surface, displaying a wide range of plastic messages ("Sacrifice", "Screen", "Relief", "Harlequin", etc...). Alexandru Pamfil's portraits have the ability to reconstruct with strength and expressivity human individualities, often finding emblematic syntheses of the shape that define the personages, sometimes assuming with plenty of inventiveness echoes from the sculpture of other epochs. The volumes conceived with severity, always rejecting facile decorative schematism, are made lively by a sensitive relief which gives life to the personages ("Portrait of a Man", "Portrait of a Woman", "Self-Portrait", "Sadoveanu", etc...). The rigor and accuracy of technical execution, the ability to turn to good account the plastic qualities of the material, the clarity of compositional idea and the way in which the volumes and shapes of his sculptures take possession of the space turn Alexandru Pamfil work into an at-once recognizable artistic universe, full of symbols and rich in human significance. Mariana Tomozei Cocos, art critic "PAMFIL", Art Album, Dana Art Publishing House, Iasi, 2009 |
E-mail: alexandru pamfil |