22. La femme à la chandelle

During his university studies, Georges Mazilu would pay particular attention to drawing. It was also during that time that he would make several pictorial experiments, until he would stop at the abstract world. The origin of the compositions he conceived after graduation is rooted in the abstract signs of his plastic genesis. In his creation, the artist makes particular recourse to the subconscious, consistently ignoring logical interferences. Mazilu compresses the human silhouette to the point of abstraction and focuses on his characters' face, which he considers to be one of the most expressive body parts, alongside hands and feet. We can notice that, in many of his works, the facial features assigned to his main characters are very expressive. The nose is often very poignant and eloquently executed. The entire composition gravitates around the characters, who are never reproductions of existing human beings, but instead they are constructions sketched in detail, starting from the artist's imagination. Space and atmosphere make their apparition at the end, in close accordance with the partially humanised puppet-characters. Mazilu becomes a virtuoso of the aesthetics of ugliness, accomplishing true pictorial metaphors of the fantastic. The world in his canvases is often a utopia, receiving the traits of an imaginary land and of a reality which is completely opposite to the known. The artist builds his works' story while he paints. He becomes a master of puppets in a puppet theatre, concentrating his plastic discourse, which bears an astounding expressive strength, around compositional chimeras.

References

"Mazilu. Hybrid Faces", Tribuna Publishing House, Cluj-Napoca, 2020.

Dimensions

width 54 cm, height 65 cm, custom 65 × 54 cm

Description

acrylic on canvas, signed bottom right, in blue, "Mazilu"

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