Conventional States of the Unconventional Man - wood

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

V I V I E N N E

"You've got to invest in the world, you've got to read, you've got to go to art galleries, you've got to find out the names of plants. You've got to start to love the world and know about the whole genius of the human race. We're amazing people."

wood collage

178/80 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 O N Y A

"I always believe in pants. You can play with your legs, your attitude, with pants. It's much more funny. It's much more sophisticated. It's much more arrogant, like a man with feminine attitude. I love pants."

wood collage

175/78 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

E L S A

"Give a man a chance, and he'll be so casual that he won't bathe, shave, or comb his hair. He'll just depend on his animal magnetism to get him by."

wood collage

154/70 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 R O L I N A

"Money doesn't buy elegance. You can take an inexpensive sheath, add a pretty scarf, gray shoes, and a wonderful bag, and it will always be elegant."

wood collage

150/90 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 C O 

"Fashion is not something that exists in dresses only. Fashion is in the sky, in the street, fashion has to do with ideas, the way we live, what is happening."

wood collage

177/84 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 N T R O V E R T

"When an introvert cares about someone, she also wants contact, not so much to keep up with the events of the other person’s life, but to keep up with what’s inside: the evolution of ideas, values, thoughts, and feelings.”

wood

110/80 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 W O   of   U S

"No matter how much you love someone, you can’t save them from drowning. They have to love themselves enough to learn how to swim.”

wood

110/80 cm