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

B I R D M A N

"He who would learn to fly one day must first learn to stand and walk and run and climb and dance; one cannot fly into flying"

liner on paper

21/30 cm

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

C A T   M O O D

“In ancient times cats were worshipped as gods; they have not forgotten this.”

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

A C O L O   nu sunt   S I M B O L U R I

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

H I S T O R Y   of   D U P L I C I T Y

“And some that smile have in their hearts, I fear, millions of mischiefs.”

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

S O U N D'me

“Where words fail, music speaks.”

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

S A V E   me from   M Y S E L F

“There are wounds that never show on the body that are deeper and more hurtful than anything that bleeds.”

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 upsșde-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

W R I T E   your   S O U L   on   M E

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

E R O T I C   D R E A M

"Sexually progressive cultures gave us literature, philosophy, civilisation and the rest, while sexually restrictive cultures gave us the Dark Ages and the Holocaust."

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

C H A O S

“You must have chaos within you to give birth to a dancing star.”

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 upsșde-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

C U L O A R E A   N E G R E Ș I T Ă   a   O C H I L O R

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 upsșde-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

T H E   A R C H I T E C T U R E   of   L I F E

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 upsșde-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

C E I   D O I   N O I

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 upsșde-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

A U T O P O R T R E T

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 upsșde-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

T H E   S T R A I G H T   O N E

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 upsșde-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

T H E   S T R A I G H T   O N E

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

I O N   A N A P O D A

"Așa puișor, râzi tare, din plin - cu mai multă poftă și mai tare: un râs care să mă doară, să mă usture și să mă scoată din fire, să mă convingă odată că numai proștii renunță la luptă."

liner on paper

21/30 cm

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

T H E   D A R K   S I D E  of  the M O O N

"Breathe, breathe in the air,
 Don't be afraid to care...”

liner on paper

21/30 cm

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

F Ă T   F R U M O S   din   L A C R I M Ă

liner on paper

21/30 cm

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

I L E A N A   C O S Â N Z E A N A

„Ileana Cosânzeana din cosiță floarea-i cântă, nouă împărați ascultă”

liner on paper

21/30 cm

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

Z M E U L   Z M E I L O R

„De ce te-ai păzit n-ai scăpat"

liner on paper

21/30 cm

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

 C O M P O S E   your   S O U L

"Love is composed of a single soul inhabiting two bodies."

liner on paper

21/30 cm

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

S E L F   P O R T R E T

„All my images are self-portraits, even when I'm not in them.”

liner on paper

21/30 cm

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

T H E   S T R I P E   M A N

„

liner on paper

21/30 cm