A Trip Into Imaginary

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The study of graphical art will add own marks to the temperament of his painting, about which it can be said that it becomes a graphical painting. The line acquires a significant constructive role and enforces a sort of clarity and expressivity to the whole imagistic ensemble. It also maintains and animates the counterpointly game that streghtens the dynamic of esthetical discursivity. It can be understood that the purpose of the colour would be a subsidiary one. Certainly not, because the colour is much powerful conjuring the feelings, outcoming from these well defined expressive figures. We can also speak about a chromatic parsimony. Rarely can we find in the structure of his harmonizations unmixed colour tones, but most of them broken tonal scales. Stillistically, he follows frequently the so called à plat representation, to suspend the model and perspective. This fact becomes visible when the artist uses a postimpresissionist method. But also, when the paste becomes oily, the brushmark is fast, vibrating in an expressionit manner, the things are changing… Anyway, the most frequent remains the postimpressionist model. The contrast of his works is unchanging, expressed in opposition between dark-bright and warm-cold.

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The frequent genre of Parascan’s painting is proven to be, unmistakble, the landscape. The artist proves us his full skill, even though he has surely success in other genres, such as portrait or still life. The flame for landscape painting was inspired and nourished in its intimate substance by his regretted professor Petrache Bicer, who used to take his disciples in open air, face to face with nature.  

The subjects of his creation are bare houses of the suburbs or village, poor, with crooked fences, courtyards of monstic atmosphere, some old, forgotten invernal trees on a top of a hill, ancestral winters or fruit geminated with pot of flowers. On this score  the artist reads the nature, filtering it through his inner vision, discovering his yet untold truths. He does it different every time, regarding the technique: watercolour, pastel or oil, but every time with same strength of emotion and deepness of spirit.

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Severe, subtle, thoughtful, spontaneously but no forcin and avoiding to obtain surface effects, Silviu Parascan is showing us himself interested in essences. His work is described by a dense lyricism, that already places him between the successors of the Moldavian painting school – which, after the illustrious art critic Ion Frunzetti, it means a concern for a thorough human theme, an intimate conection between andsubstance and  shape, respect for the tradition and a graphical and chromatic lyricism of the image.    

Aurel ISTRATI             Iași, March 2010