Caderea în Timp...
Odata cu noile creatii ale pictorului Ovidiu Kloska, problema etica si estetica a rediscutarii intervalului ce desparte, dar si apropie lumea mundana, subsolara, de cea celesta, revine cu putere în actualitatea unui timp ale carui repere spirituale par a fi fost definitiv uitate de omenire.
Intervalul dintre lumea terestra si cea celesta, înteles nu doar ca un vid, ci ca un spatiu umplut cu îngeri si oameni deopotriva, ofera sansa absorbirii tuturor celor deschisi duhului, în lumina izbavitoare ce se contureaza sistematic si treptat în jurul fiecarui înger realizat de artist. Îngerii lui Koska – daca ne este permisa aceasta fortare a ideii si exprimarii deopotriva – în pendularea lor între Absolut si Mizeria Mentala ofera în susbsidiar alternativa eliberarii, mântuirii spirituale, izbavirii din cercul de fier al existentei materiale exprimate prin corporalitatea în care este constrâns sa fiinteze o perioada spiritul, a carui esenta nu poate fi decât una singura si exprimata prin atributele specifice intangibilului. Se stie, spiritul nu poate fi decât absolut liber!
Vectorul ce ne demonstreaza acest fapt este tocmai îngerul atipic din creatia lui Kloska, întrucât desi pare contaminat de suferinta intrinseca specifica umanului, manifesta libertatea sinelui propriu prin jocul fantastic al luminii dezvoltat în diverse forme, unele mai surprinzatoare decât altele.
Î ngerul, înteles ca mesagerul, ca intermediarul dintre cele doua lumi – desi, binarul astfel perceput reduce cu mult esenta spirituala a Marelui Interval – propune o alta varianta intra-existentiala, fiintiala, ce rupe spatii considerate date si imuabile, dezvoltând deopotriva paradigme altfel imposibil de conceput si priceput mintilor obisnuite. Observam, de pilda, cum artistul surprinde manifestari suis-generis – corporal-umane ale îngerilor, redirectionând elanul biblic, nascut în urma gestului, conform caruia Dumnezeu l-a creat pe Om dupa chipul si asemanarea Sa; la Kloska, îngerii, ca extensii ale lui Dumnezeu, sunt creati dupa chipul si asemanarea Omului, asa cum este acesta strivit în nefericirea-i sisific terestra, mai mult decât în fericirea de provenienta transcendentala.
Corporalitatea îngerilor, aparitia mâinilor în imaginea oniric grava, devoalata printr-o lume a începuturilor creatului increat, apare socant exploziva, cu trairi specifice omului, marcate de chipuri aparte, fie cazute în meditatii profunde, fie exteriorizând trairi aflate în vecinatatea mirarii, înfricosarii de dinaintea marilor treceri, iluminarilor instantanee, detasarilor reci, sfârsirilor eterne.
Construct senzational, aparentul corp al îngerului – îngerilor – surprinde prin planul vizibil si cel invizibil, intuibil, însa; avem de a face cu o corporalitate secundara mai mult intuita decât rationata, adica nu reprodusa. Ea se dezvolta ca senzatie cu brio si poate marca, în opinia noastra, începutul unui nou drum în arta contemporana; se adauga figura – figurile, respectiv chipurile îngerilor, care par ca se confunda în background-ul întunecat-luminos, continuând, astfel, ideea evadarii din sine si, prin aceasta, din constrângerile nefaste ale lumii materiale.
Dualitatea prezentata de corp si spirit, de lumina si întuneric, creeaza înselatoarea impresie a ideii exprimate cândva de M. Foucault, conform careia „totul seamana cu totul, orice cu orice�, însa artistul stie sa evite cliseele, vechile presupozitii culturale ale spatiului în care se misca estetic creând senzatia de certa usurinta, nicidecum de usuratate, imaginile sale nedând vreun moment impresia ca sunt gata facute, urmare a unor obisnuinte de gândire ori de reflexe studiate în oglinda.
Avem de a face cu o spargere a tiparelor gândirii descartiene, ce impunea cândva o rationare directa, fara intermediari, caci autorul ne propune o gândire mediata tocmai de îngerii deveniti, cum afirma Durand „simboluri ale functiei simbolice însasi�; în loc sa dispara îngerii reapar în forta într-un timp care cere mai mult ca oricând prezenta lor drept singular suport al salvarii noastre însine.
Rasucirile sufletului sunt investigate pe îndelete, iar reactiile dezvoltate prin intermediul recentelor creatii comprima revelator geamatul omului contemporan infirm, sugerând, parca, un lucru extraordinar: ca pâna si spiritul se negociaza, la urma urmei. Dar aceasta este numai o sugestie, ce ne trimite la spusa lui Rabelais, conform careia pâna si „pestii urla�.
Transcendenta este înlocuita cu energii speciale ce coboara în trup, iar acest fapt nu reprezinta altceva decât eterna cautare de sine a artistului, a insului obligat sa traiasca într-o lume pustiita, dar în care apare oportun, aripa salvatoare a îngerului.
Acest lucru este vizibil în creatia lui Kloska, întrucât, la un moment dat, mâinile îngerilor devin aripi de lumina orange, desprinderea de ce este comun si caracteristic omului delimitându-se, atunci, transant, aratându-ni-se ca artistul dispune, realmente, de organul necesar receptarilor fenomenelor subtil-mistice, relevate aproape paradoxal prin elementele materialitatii acestei lumi.
Opozitia contrariilor, veti spune; iar noi vom fi de acord!

Prof.dr. Fl.Agafitei
Noiembrie 2010


"Fall into Time...


With the new creations of the painter Ovid Kloska, the ethic and aesthetic problem of the re-discussing The Intervalul witch separetes, but also is approaching the mundane world, sub-solar, by the celestial one, is returning with power in the actuality of a time whose spiritual landmarks seem to have been permanently forgotten by humanity.
The Interval between the terrestrial and celestial world, understood not only as a vacuum, but as a place filled with angels and humans alike, is offering the chance of the absorption of all with the open spirit, in the redemptive light that systematically and gradually shaping around each angel "made" by the artist. Kloska's Angels – if we are allowed in this forcing in both the ideea and the expressing – in their oscillation between Absolute and Mental Misery, they are offering in susidary the alternative of the a redemption, a spiritual salvation, a deliverance from the iron ring of material existence expressed through the corporality where the spirit is constrained to exist a periode, whose essence can only just only one and expressed by the atributes specific to the intangible. It is known, the spirit can only be absolutely free !
The vector that demonstrates this fact is just the atypical angel from Kloska's creation, whereas, although apparently contaminated by the intrinsic suffering specific to the human kind, he manifests the liberty of the own self by the fantastic play of light developed in various forms, some more surprising than others.
The angel, understud as the messanger, as the intermediary between this two worlds– althrough, the binary perceived in this way is reducing with high amount the spiritual essence of the Great Interval – propossing o diferent intra-existential variant, a being one, that brakes spaces considered immutable and fixed, developing in this way both paradigms that are imposibil to concept and perceived by the ordinary minds. We observ, by the way, how the artist is astonishing events suis-generis – corporal-humanlly of the angels, in this way redirecting the biblic elan, born after the gesture, according to which God created the human after His own face; to Kloska, the angels, as extensions of God, are created with the face and kind of the man, as it crushed in its own Sisyphean terrestrial misery , more than in the happiness of the transcendental origin.
The corporality of the angels, the aparition of the hands in the grave oniric image, de-veiled by a world of a beggining of the increated Create, is shocking appears like an explosion, with feelings specific to human kind, marked by special portrets, some fallen into deep meditation, some exteriorizing experiences in the vicinity of wonder, or intimidation before the big Pass, or instant illuminations, cold detachment, eternal ends.
Sensational Construct, the apparently body of the angel – angels – is captured by visible and invisible plane, intuit, but; we have to deal with secondary corporality much more inferred then rational, in the means of non-reproduction. It develops successfully like a feeling and has the power to mark, in our opinion, the beggining of a new road in contemporary art; adding the figure – the figures, respective the faces of the angels, that seem to merge into the dark - light background, continuing, in this way, idea of escaping from himself and, thereby, from the negative constraints of the material world .
The duality presented by the body and the spirit, by the light and dark, is creating the deceptive impression of the idea once expressed by M. Foucault, that „everything looks like everything, any with any�, but the artist knows how to avoid clichés, old cultural assumptions of the space where he makes his aesthetic moves, creating the sensation of certain easily, nowise of lightness, his images not giving us the impression that they are ready-made, resulting from some habits of thought or reflexes studied in the mirror.
We are dealing with a braking of patterns of descartiene thinking, that once required a direct reasoning, without intermediaries, because the author proposes us a mediated thinking even by the angels that becamed, as Durand wrote: „ symbols of the symbolic function itself �; instead of disappearing , the angels are re-appearing in force in a time that requires more than ever the presence of them as the singular support of our salvation as ourselves.
The twistings of the soul are leisurely investigated, and the reactions developed through the recent creation are compressing the revealing groan of the invalid contemporary man, suggesting, in a way, an extraordinary thing: that even the spirits can be negotiated, at the end. But this is only a suggestion, that send us to the told of Rabelais, that even „ the fishes are howling�.
The Transcendence is replaced with special energies that are downing into the body, and this fact and this is no more than the artist's eternal search for self, the search of the spirit forced to live in a desolate world, but where opportunelly appears, a saving wing of an angel.
This thing is very visible in Kloska's creation, whereas, at a time, the hands of the angels are becaming wings of orange light, the detachment from what is common and characteristic to the man is detaching , then, trenchant, showing us that the artist has, truly, an organ that is necessary to receive the subtly mystical phenomena, almost paradoxical revealed by the materiality elements of this world.
Opposites opposition, you will say; and we agree!"

Prof.dr. Fl.Agafitei
November 2010



Kloska's Angels

In the Klosks's paintings form the last years its dominates, even many couldn't observed, the simplicity and humility: the simplicity from which the art, all-doing, is revealing with nothing more than the artist wants;
because Ovidiu Kloska wants that and ..dindn't wants that!
Looking closely, I noticed one major action in the works, specifically to a good drawer, which is joined, in an intimate collaboration, the colourist. Everything is seemingly simple, beautiful, a profound beauty, spiritual one, a beauty that tells a story, the story that You think he is telling; everything is natural, inspire, reinforcing in me the idea ... of creative freedom.
But how would reconcile the idea of beauty with the fleshless cheeks of angels, deprived of material, only the spirit deeper corners of the mouth with the look absorbed absorbed into the very material of the angel doubled by extraordinary spiritual mobility. Everything is in a light that overlaps the background from witch come out snippets of life as the angel is feeling in us and a a desolate world, a confused world,
crushed under the seal of an anguish destiny , but witch, paradoxically, may leave room for hope.
The movement- in its stillness - s soaked by a strange slowness, in the almost irresistible inclination of the divine head, of the return over the shoulder opening the endless infinity of the orbits...
And here, I can not help not noticing a restricted range of tones, then the blue, that strange blue ... a pressed line, excessively un-natural elongated forms, arms that are flowing like the water.
The angel, almost by narural size, invades the viewer's space, enough to convey the message, s a kind of oracle, or an answer doubled in a mirror, the mirror ...