Conventional States of the Unconventional Man - digital artwork
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
LOVE IN BLUE
"Timpul curge prin albastru
Jinduiesc la câte-un astru"
Lucian Blaga
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
SUMMER MOOD
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
IRIDESCENT
"Viaţa este o aglomerare de stări, forme şi culori"
Valeria Maho
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
CHA-CHA
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
INTERRUPTED FRICTION
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
INSOLENT
"Înțelegerea este o insolență educată"
Aristotel
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
HYPNOSIS
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
MY WORLD
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
EXTROVERTS
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
MUMA PĂDURII
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
INSUFFICIENT JOY
"Happiness is the richest thing we will ever own"
Donald Duck
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
SPIDER LIFE
"Nu trebuie să îți controlezi gândurile, trebuie doar să nu le mai lași să te controleze"
Dan Millman
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
NEW BEGGINING
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
THE FISHMAN
"Peștii trăiesc în mare asemeni oamenilor pe pământ; în ambele locuri, cel mai mare îi înghite pe cei mici."
William Shakespeare
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
SEX APPEAL
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
TARZAN
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
ALTER EGO
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
SOLAR VIBRATION
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
HE
Acum ceva timp am fost contactată cu rugămintea de a face patru desene, pentru fiecare membru al unei familii, după o descriere succintă.
În prima fază am refuzat politicos, pentru că mi-am propus acum mult timp, să nu fac lucrări la comandă.
Discutând în continuare, am ajuns la concluzia că ar fi o provocare interesantă pentru mine, mai ales că persoana care m-a contactat a fost foarte relaxată, acordându-mi toată libertatea de care aveam nevoie.
Am încercat să mi-i imaginez pe fiecare în parte (nu ne cunoaștem), să le accentuez calitățile și să pun în valoare interacțiunile dintre ei, unitatea și unicitatea lor familială.
EL: "Este o persoana căreia îi place să socializeze, să se plimbe, să facă sport, să iasă în lume și să experimenteze foarte mult. Este diplomat, dar pe alocuri destul de brut. Neatent. Când l-am cunoscut, nu zâmbea. Se abținea. Acum, are un zâmbet luminos, dar nu știe sã se bucure. E genul care își setează o țintă, dar nu se bucurã când ajunge acolo, gândindu-se la ce urmează dupã asta. Nu l-am văzut niciodată entuziasmat.
Ceva amuzant: nu știa sa cumpere flori, până când m-a cunoscut pe mine. A învăța în timp. Prima data mi-a luat flori artificiale pe care le-a ținut în apă. Vara îi ies pistrui la soare. Tot timpul glumesc cu el pe tema asta. Este puțin roșcovan (mai exact barba are o tentă) și îi spun "să te ferești de omul roșu și de de omul spân"
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
LIA
"Este bucurie pură, calmă și luminoasă, înțelegătoare și creativă. Are privirea foarte pătrunzătoare și știe exact ce vrea. Uneori îi spunem Ciocârlia"
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
TANIA
"Este o avalanșă de emoții și sentimente, intuitivă, iubăreață și empatică, energie pură. Îi place să înoate, iar culoarea preferată este albastru"
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalized, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joinings, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artifacts, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
ADRIANA
"Sunt un amalgam de emoții pe care acum încerc sa le accept în viața mea. Nu pot spune prea multe despre mine în perioada asta, dar pentru a fi mai simplu de redat => la nivel de sine exista multă furie și dorință de libertate la nivel universal"
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalized, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joinings, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artifacts, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
TERRA
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalized, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joinings, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artifacts, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
GEOMETRIC DREAMS
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalized, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joinings, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artifacts, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
SHIT HAPPENS
"The pessimist reason that things just happen, where the optimist believe that things happen for a reason."
Anthony Liccione
Anthony Liccione
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
THE OCTOPUS OF LOVE
