Alexandra Bodea is a young artist with a huge potential doubled by discipline carefully and perseveringly managed. A 2009’s graduate of the Art and Design University of Cluj-Napoca, with a major in Painting, Alexandra considered the making of this project a challenge to a profound personal experience brought to life.
“Protection Image” is composed as a carefully built installation, accomplished by minimal means; the project represents a world apart, with a range of quite spectacular components. It is a work sprouted from the intention to activate a virtual potency, to make something that had not existed happen, to create a world of its own destiny. Alexandra’s world is a crowd of anonymous individuals following their somewhat natural course towards something that would finally lead them to total disappearance: the mouth of a leviathan devouring the entire situation ensemble. A leviathan whose fate is rather decided by the very call of the work, making us remember Bosch’s medieval world, which also encloses contemporary aspects, including consumerist issues. Fragile by technique, the work may be equally considered a sculpture, by association of objects, mainly bi-dimensional ones. The marker drawing on cut mousse confers a caricature appearance, but by repetition and rhythm, the message gathers a deep and brisk character raising mystic questions.
This work represents a performance, being composed of thousands of manually-crafted pieces. Mysterious scenes are spread among masses of characters; scenes with their separate stories representing altogether a counterpoint into the work’s architecture. Practically, we are facing tens of works within the great work, small scenes being a part of the great play of life.
Imposing by the amount of pieces and the number of details, meditative and ironical by its problematic, “Protection Image” maintains the purpose that led to its creation; what is left, is that each of us should understand who, whom, and from whom is protecting.
“Protection Image” is composed as a carefully built installation, accomplished by minimal means; the project represents a world apart, with a range of quite spectacular components. It is a work sprouted from the intention to activate a virtual potency, to make something that had not existed happen, to create a world of its own destiny. Alexandra’s world is a crowd of anonymous individuals following their somewhat natural course towards something that would finally lead them to total disappearance: the mouth of a leviathan devouring the entire situation ensemble. A leviathan whose fate is rather decided by the very call of the work, making us remember Bosch’s medieval world, which also encloses contemporary aspects, including consumerist issues. Fragile by technique, the work may be equally considered a sculpture, by association of objects, mainly bi-dimensional ones. The marker drawing on cut mousse confers a caricature appearance, but by repetition and rhythm, the message gathers a deep and brisk character raising mystic questions.
This work represents a performance, being composed of thousands of manually-crafted pieces. Mysterious scenes are spread among masses of characters; scenes with their separate stories representing altogether a counterpoint into the work’s architecture. Practically, we are facing tens of works within the great work, small scenes being a part of the great play of life.
Imposing by the amount of pieces and the number of details, meditative and ironical by its problematic, “Protection Image” maintains the purpose that led to its creation; what is left, is that each of us should understand who, whom, and from whom is protecting.