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ALEXANDRU PAMFIL
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    ALEXANDRU PAMFIL sau VALORILE FORMEI


    L-am cunoscut pe Alexandru Pamfil in tripla ipostaza: ca muzeograf, ca artist si nu in ultimul rand ca OM. Cunoasterii inegale si marcate uneori de insatisfactia prea scurtelor adastari, dar oricum trepte de apropiere de o personalitate care, progresiv, mi s-a parut tot mai demna de interes si pretuire. Am fost colegi la Liceul de arte plastice "Octav Bancila" din Iasi, unde la sculptura i-am avut ca profesori pe regretatii profesori Iftimie Barleanu si Ion Buzdugan. Am plecat din atelierele-clasa coordonate de acesti artisti cu sentimentul ca am avut sansa sa participam, fie si indirect, la viata unor laboratoare vii, cu experiente viabile in plina desfasurare.

    Ne-am bucurat in acei ani de formare de autoritatea morala si profesionala a unor profesori-artisti, raporturile cu elevii sfarsind prin a deveni deschise si uneori elevat cordiale. Aceasta scoala a dat sculpturii romane nume care s-au impus in circuitul valorilor internationale: Mircea Spataru, Mihai Buculei, Adrian Popovici, Costel Badea, Ion Iancut, Nicolae Paduraru, Nicolae Golici, Ilie Bostan, Ghe. Zarnescu, Dan Danila etc.

    Ca artist, l-am cunoscut pe sculptorul Alexandru Pamfil, ieseano-galatean, prin lucrarile trimise la diverse manifestari expozitionale, dar mai ales, in urma unei vizite la Muzeul de arta din Galati, unde se ocupa si de restaurare, pe langa cele ocupatii "oficiale", muzeograf, ghid, organizator de expozitii "grele", amfitrion de exceptie, de mare ajutor sculptorului Gheorghita Vornicu, care reusise sa-si demonteze masina in curtea muzeului, piesa cu piesa, sub privirile ingrozite ale participantilor la un vestit simpozion galatean...

    Inspirata invitatie a Galeriilor DANA a artistului Alexandru Pamfil la Iasi subliniaza inca odata interesul amfitrionilor pentru arta autentica, pentru promovarea artistilor de o certa valoare... Universul sculptorului Alexandru Pamfil, in deplina libertate a discursului despre forme, volume, lasa imaginii de ansamblu o evidenta autonomie ca fapt, cu vadita respectare a limbajului specific. Respectul pentru lucrul bine facut si o grava asumare a ideii de durata intervin in procesul de creatie ca factori ordonatori, implicand nemarturisita aspiratie pentru un stil cu perspectiva.

    Aparent linistit, sculptorul, departe de orice regie a actului creator, intrupeaza ideea in forma simultan (intersectie, lemn de nuc), modelajul, tehnica de lucru prin adaos - ii permit sa se exprime direct si nemijlocit in materia care pastreaza impresia gestului modelator (cavaler si cal, carturar), conferind plasticii sale prospetime si incisivitate, nealterate de procesul transpunerii in forma definitiva. In acest context, Alexandru Pamfil selectioneaza subiectele in functie de vocatia lor de a fi "plasticizate". Sculptura sa se foloseste de bagajul figurativ fara a miza excesiv pe densitatea conotativa a acestui nivel al imaginii.

    Cand este preocupat de taietura planurilor pentru organizarea unor mase tectonice, ritmate, decise, in esenta temei (metamorfoze), sculptorul furnizeaza motivului varianta organicitatii, a transformarilor ciclice, implantate sugestiv in spatiu.

    In spatele acestei mari libertati de expresie sta nu numai frecventarea unor texte filosofice sau estetice, ci si castigul unei speciale aplecari spre metafora, poetica formelor... Puritatea geometrica subtil patrunsa de biomorfism, definesc stilistic un artist ce nu se inchide intr-un perimetru delimitat artistic (al investigatiei formale, tematice), ci apeleaza cu dezinvoltura la un figurativ divers si emotionant.

    La prima vedere, expozitia de fata s-ar defini prin finitul ei, sub specia indelung dezbatuta, al sculpturii mici, concept care poate fi limpezit doar in contextul scolii de sculptura romaneasca. Numerosi sculptori din toate generatiile, preocupati de aceasta orientare stilistica si tematica complexa au reformulat fundamental principiile genului, manifestandu-se in saloane de sculptura mica (Bucuresti, Arad), sugerand chiar existenta unui program propriu-zis, deschis intotdeauna unor confruntari colocviale.

    Sculptura mica a lui Alexandru Pamfil poate fi asimilata usor cu narativul, liric (Enigma, Paravan, Adam si Eva, Urme), loc in care suntem mai "prezenti" in atelierul launtric al artistului. Locul in sine este in zona tarkovskiana, a trairilor abisale dar si a solutiilor indraznete, chiar efemere, pentru explorarea limitelor sculpturii, a regasirii "calauzei" spre valorile formei. Reductia volumetrica, devenita virtualitate monumentala este in fond "un sine" al libertatii de expresie. In aceasta "zona" artistul pandeste capodopera, intr-o comunicare activa cu forma, o proba speciala a maximei reflexivitati.

    Expozitia este implinita intr-o suita de desene, un teritoriu al imediatului expectativ, care dovedesc abilitatea speciala a artistului de a transpune ideea in forme concentrate a viziunii sculpturale. O expozitie ce intretine o stare benefica in spatiul plasticii nu numai iesene, gratie sustinerii colectivului de exceptie al Galeriilor DANA, peste al carei prag va invitam sa pasiti cu smerenie. Alexandru Pamfil va asteapta printre lucrari intr-un autoportret oglinda al timpului trecator.

    Traian Mocanu
    "Buna ziua Iasi", Nr. 3295, pag. 10, Joi, 12 martie 2009

    Alexandru Pamfil or The Values of Form


    I met Alexandru Pamfil as a specialist in museography, an artist and, last but not least, as a MAN. No matter how little time we spent together, each meeting was for me another step towards a personality that, progressively, seemed ever more worthy of interest and praise. We attended the same Octav Bancila Art High School in Iasi, where we were taught sculpture by the late teachers Iftimie Barleanu and Ion Buzdugan. We left the workshops conducted by those artists with the feeling that we had had the chance to take part, even if indirectly, in the activity of such lively laboratories, with viable experiments in full swing.

    During those formative years we benefited from the moral and professional authority of several artist teachers, their relations with the students being open and sometimes highly cordial. That school has given Romanian sculpture names that imposed themselves in the circuit of international values: Mircea Spataru, Mihai Buculei, Adrian Popovici, Costel Badea, Ion Iancut, Nicolae Paduraru, Nicolae Golici, Ilie Bostan, Ghe. Zarnescu, Dan Danila, etc.

    As an artist, I met sculptor Alexandru Pamfil, belonging to both Iasi and Galati now, by means of the works he submitted to various exhibitions, and more particularly during a visit I paid to the Art Museum in Galati, where he was involved in restoration, besides the "official" jobs he had to do - specialist in museography, guide, organizer of important exhibitions, exceptional host, being of great help to sculptor Gheorghita Vornicu, who had managed to take his car to pieces in the museum court, under the horrified eyes of the participants to a famous Galati symposium ...

    DANA Art Gallery's inspiration to invite Alexandru Pamfil to Iasi shows once again how interested his hosts are in genuine art and promoting artists of real value ... Sculptor Alexandru Pamfil's universe, characterized by an absolutely free discourse about forms and volumes, adds to the overall image an obvious factual autonomy, respecting the specific language. A respect for a well-done thing and a profound assumption of the idea of time length appear in the process as ordering factors, implying the hidden aspiration to a perspective style.

    Apparently quiet, the sculptor, far from any preparation of the creative act, gives the idea form simultaneously (Intersection, Oak Wood), the fashioning, the adding technique allowing him to express himself directly, immediately, in the substance that preserves the impression of the fashioning gesture (Knight and His Horse, Scholar), and giving his shapes freshness and incisiveness, untouched by the transposition into the final form. In this context, Alexandru Pamfil chooses his subjects according to their potential of being "plasticized." His sculpture uses the figurative arsenal without excessively resorting to the connotative density at this level of the image.

    When concerned with cutting the planes in order to organize tectonic masses, rhythmical, decided, in the essence of the theme (Metamorphoses), the sculptor gives the motif the variant of organicity, of cyclic transformations, suggestively implanted in space.

    Behind this great freedom of expression one can sense not only philosophical or aesthetic texts but also the gain of a special propensity for metaphor, the poetics of shapes ... The geometric purity subtly permeated by biomorphism stylistically defines an artist that does not lock himself in an artistically delimited perimeter (of formal, thematic investigation) but unrestrainedly appeals to the diverse and exciting figurative.

    At first sight, this exhibition might define itself by its finite, under the much debated species of small sculpture, a concept that can be clarified only in the context of the Romanian school of sculpture. Numerous sculptors from all generations, concerned with this complex stylistic and thematic orientation, have fundamentally reformulated the principles of the genre, displaying their works in small sculpture showrooms (Bucharest, Arad), even suggesting the existence of a proper programme, always open to friendly confrontations.

    Alexandru Pamfil's small sculpture can be easily assimilated to the lyrical narrative (Enigma, Screen, Adam and Eve, Traces), an area that makes us more familiar with the artist's inner studio. It reminds one of Tarkovsky, his abysmal states of mind and his daring solutions, ephemeral even, for the exploration of sculpture's limits in order to find the right "stalker" to the values of the form. Volumetric reduction, turned into monumental virtuality, is in fact "a self" of the freedom of expression. In this "zone", the artist watches for the masterpiece, in active communication with the form, a special trial of the utmost reflexivity.

    The exhibition is completed by a series of drawings, a territory of the expectant immediate, that show the artist's special ability to transpose the idea into concentrated forms of the sculptural vision. An exhibition that maintains a benevolent state not only in the space of the Iasi plastic art, thanks to the support of the exceptional team working for DANA Gallery, whose threshold we invite you to cross humbly. Alexandru Pamfil is waiting for you next to his works in a mirror-self-portrait of the passing time.

    Traian Mocanu
    "Buna ziua Iasi", 3295, p. 10, Thursday, 12 March 2009



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