Does a painting reveal or hide true face of an artist-is it the product of his mental state or emotional impulses, the reflection of his feelings, or simple a mere fantasy and figment of his mind.
Observing the paintings of Morar Vojkan , these are the extract questions we have to ask ourselves . Maybe it is all about Bretons
pure, mental automatism
the dictatorships of thought in absence of any rational control
However while painting, Vojkan does not totally exclude all concise, mental directives.
On the contrary, he presents his relationships with the world-relationships veiled with fantasy and mystique. Inspiration for his creative work he obtains from literature, music, mythology, and iconography, while paraphrasing poems, novels, and historical events. In that way we recognize St.Sebastian,Neptune,Christ,Laocon,Gothic cathedrals
But these do not make up the essence of a painting; these are just some of associating elements in an infinite space. It is actually this space-space as universe that dominates
On the canvas. And it is also this space that introduces a touch of magic into the composition, creating mysterious and somewhat morbid atmosphere.
Further analysis of Morars artistry reveals the following: the center of his interest is man, i.e. people who fit perfectly into that apocalyptic world.
These people are stylistically in complete harmony with the space. There are slender, elongated figures with their arms stretched and rose upward, as if wishing to reach something or fly into that unreal world. Directed towards the heavens, incorporeal, faceless and sexless, they appear out of the ground, treetops, they grow out of the fish wombs, pr are simply hidden within that chaotic expanse.
The particular trait of Morars artistic iconography is processions of human figures.
These people actually present his micro world. Tiny, almost invisible to the naked eye, they have been created with filigree-like strokes, and can be seen more clearly only under the magnifying glass. Sometimes these miniature figures compose one larger macro figure (hundreds of small angels make up a big one).
These compositions, at first sight simple, but in actual fact extremely complex, seem very harmonious, although filled with multitude of details. These harmony originals from the very coloring. Reduces to only few colors (one or two) and finally to the monochrome technique, the coloring also gives the spiritual touch to the painting. The play of the light and dark, graduation and color toning, create specific atmosphere perspective.
The structure on Morars canvas varies from azure to paste. Namely, at the azure base (completely dissolved pigment), we find forcefully rough strokes that develop into tangible relief. From all this we could draw the conclusion that the key to Morars creativity lies in the spontaneous expression of his feelings.
In the same manner as on the canvas, Morar creates his human figures in clay. Recognizable slimness, motion and theme are transferred from canvas into free space. Just like the ones in the paintings, these elongated forms that also aspire towards the sky, seem unreal and expressive. And it is in this expression, symbolism and alienation from the real and earthly, i.e. in the in his magical world and fairy-tale like dream, that he creative power of Vojkan Morar lies.
Connoisseur of fine arts