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Personajele sculptorului PamfilArtist cu un parcurs creator remarcabil, sculptorul galatean Alexandru Pamfil face din dialogurile sale cu forma o optiune de cunoastere a lumii si a sinelui. Reflexivitatea il determina sa priveasca atent in istorie, dar si in orizontul uman imediat cu o fervoare imaginativa demna de aplicatiile unui psiholog atras deopotriva de fizionomii cat si de caractere. Sculptura il face sa vada si sa inteleaga tainele lumii si sa ajunga la cauze. Acest exercitiu intelectual ii permite glose pe tema Omului, a caracterialului si a dimensiunilor multiple ale spiritului. Este, altfel spus, un ganditor care simte cu antene extrem de fine diferenta dintre aparenta si esenta, dintre temeinic si aleatoriu. Spectacolul existentei este astfel o expresie a colocvialitatii, al meditatiilor solitare, un pretext de dezbatere a dilematicilor enigme existentiale. Fiecare noua expozitie personala valorifica si reitereaza apetitul artistului de a configura un teritoriu al simbolicului, pornind de la observatiile de profunzime asupra universului uman. Seamana, de aceea, cu un fel de memorialist care transcrie in forma sculpturala concepte si stari afective, elanuri vitaliste si melancolii, spaime pasagere si dubitatii permanente. Poate fi privit, astfel, ca un narator inspirat al unei povesti in care personajele si actiunea reconstruiesc si reconfirma plastic realitati efemere prin care vizeaza emblematicul, definitivul. Imaginatia fertila, reflectia angajata, manualitatea exersata sunt elementele unei constructii artistice originale si, totodata, componentele unei conduite severe in ordine morala, si generoasa in aceea a dialogului cu un ipotetic si generos privitor. Spiritul contemplativ, reflexiv al moldoveanului nascut in judetul Iasi se impleteste cu rigorile dobandite in mediul academic clujean si expresiile sugereaza o forma de umanism generos in portrete si substantial psihologic in compozitiile-metafora. Asemenea dualitate fertila presupune inscrierea intr-un demers intelectiv unde ideea-concept asigura suportul unor interpretari personale care transcend subiectivismul limitat in beneficiul unei obiectivitati cu mult mai generoase. Strategia configurarii unei viziuni personale a devenit nu atat o obsesie, cat implinirea unei vocatii. Ca limbaj universal, sculptura ii permite glose plurisemantice pe temele cardinale ale existentei iar interogatiile individuale se inscriu intr-un perimetru al meditatiilor cu amprenta filosofica. Categoriile eseticului sunt utilizate ca puncte liminare intr-un demers introspectiv de unde pornesc si se intorc viziunile amintite al caror farmec deriva din atasamentul spontan al interlocutorului ideal, interesat de dezbaterea prin mijlocirea artei, a dramei de a fi. Sculpturile lui Alexandru Pamfil nu traiesc prin masa si volum ci, indeosebi, prin spiritul lor travestit in expresie. Formele se innobileaza prin sens si conving prin metafora. Acest tip de discurs, cerebral si lucid, nu exclude emotia ca un partener privilegiat. "Sacrificiul", "Meditatia", "Enigma", "Metamorfoza", "Intersectia", alaturi de alte compozitii racordate indeosebi portretului, se circumscriu de fapt unei universale, personale si permanente dezbateri unde universul umanului, al afectivitatii genereaza tot atatea ipoteze despre viata si moarte, sublim si grotesc, etern si derizoriu. Artistul modeleaza efilat forma, o dematerializeaza, o purifica prin interpretare ca o subtila sugestie a pascalienei trestii ganditoare si face, in acest fel, din fragilitate expresia rezistentei si perenitatii. Impecabil modelator de forme gracile, cioplitor decis si aplicat al pietrei sau lemnului de esenta tare, Alexandru Pamfil este dublat de un desenator impecabil ale carui volute grafice esentializeaza stari si determina atitudini. Sub raport stilistic, expresiile formelor fac trimitere la un fel de sever model gotic prin angularitate si ritmul interior al formei. Nota unui expresionism atitudinal identificat in dimensiunea unui exces de traire invecinata paroxismului existential devine un alt indiciu de asumare a dezbaterii disconfortante in raport cu tentatiile calofile. In ansamblu, sculptorul are arta de a trece dincolo de seductiile modelului giacomettian de la inceputul secolului al XX-lea si se manifesta cu tenacitate intr-un cadru de modernitate neostentativa, multe dintre opere putand fi tratate ca sculpturi de interior. In sonoritatile metalului, alama, cupru sau duraluminiu, in duritatea pietrei, in fibra bine timbrata a lemnului putem asculta vocile tacerii ca o pledoarie pentru farama noastra de eternitate... Valentin Ciuca, critic de arta "PAMFIL", album de arta, editura Dana art, Iasi, 2009 |
Sculptor Pamfil's PersonagesAn artist with a remarkable career, sculptor Alexandru Pamfil from Galati turns his dialogues with shape into the desire of knowing himself and the world. His reflexivity makes him look carefully into history and the human horizon with an imaginative fervor worth the applications of a psychologist attracted both by physiognomies and characters. Sculpture makes him see and understand the secrets of the world and get to causes. This intellectual exercise enables him to meditate upon the theme of Man, the characterial, and the multiple dimensions of the spirit. He is, in other words, a thinker who feels with his extremely fine antennas the difference between appearance and essence, between the solid and the accidental. The spectacle of existence is thus an expression of the colloquial, solitary meditations, being a pretext for debating existential dilemmatic enigmas. All his one-man exhibitions turn to good account and reiterate his appetite for configuring a territory of the symbolic, starting from his profound observations of the human universe. That is why he is like a memorialist who transcribes into sculpture affective concepts and states, vital urges and melancholies, transient fears and constant doubts. Thus, he can be seen as the inspired narrator of a story in which the characters and the plot plastically reconstruct and reaffirm ephemeral realities through which the author points to the emblematic, the definitive. His fertile imagination, his committed reflection, and his experienced manuality are the elements of an original artistic construction and at the same time the components of a conduct that is both morally strict and generous when it comes to conversing with a generous hypothetical onlooker. The contemplative, reflexive spirit of the Moldavian who was born in the county of Iasi blends with the rigors that he acquired in the Cluj academic environment, and its expressions suggest a kind of humanism that is generous in portraits and highly psychologist in metaphor-compositions. Such a fertile duality involves his circumscription to an intellective approach in which the idea provides the basis for personal interpretations that transcend limited subjectivity for the benefit of a more generous objectivity. In his case, the strategy of configuring a personal vision has become the fulfillment of a vocation rather than an obsession. As a universal language, sculpture enables him to infinitely meditate upon the cardinal themes of existence, while his interrogations belong to a perimeter of a highly philosophical mark. The categories of the aesthetic are used as landmarks within an introspective approach that are the starting and the finishing point of the above-mentioned visions whose charm stems from the spontaneous attachment of the ideal interlocutor, interested in the debate mediated by art, and the drama of life. Alexandru Pamfil lives not by mass and volume but particularly by their spirit under the guise of an expression. Shapes become noble through meaning and convince through metaphor. This type of discourse, cerebral and lucid, does not exclude emotion as a privileged partner. "Sacrifice", "Meditation", "Enigma", "Metamorphosis", and "Intersection", along with other compositions mostly related to portrait, belong in fact with a universal, personal, and permanent debate in which the universe of the human, of affectivity, generates assumptions about life and death, the sublime and the grotesque, the eternal and the ridiculous. The artist fashions the shape long and thin, dematerializes it, purifies it by interpretation as though it were a subtle suggestion of Pascal's thinking reed, and thus turns this fragility into a representation of resistance and permanence. An impeccable fashioner of delicate shapes, a committed, determined carver of stone and hard wood, Alexandru Pamfil is also an impeccable drawer whose graphic vaults turn states into essences and determines attitudes. Stylistically, his shapes point to a kind of strict Gothic model through their angularity and inner rhythm. The mark of an attitudinal expressionism found in the excess of emotion bordering on existential paroxysm is another clue about how the sculptor leans on discomforting debate rather than beautifying things. All in all, the sculptor masters the art of going beyond the seductions of the early 20th century Giacometti model and tenaciously manifests himself within a non-ostentatious framework, and many of his works might be seen as interior sculptures. In the sonority of the metal - brass, copper, or hardaluminum, in the hardness of the stone, in the well-timbred fiber of the wood, we can listen to the voices of silence as if they were a plea for our bit of eternity... Valentin Ciuca, art critic "PAMFIL", Art Album, Dana Art Publishing House, Iasi, 2009 |
E-mail: alexandru pamfil |