Being a full professor at ”George Enescu” University of Fine Arts of Ia?i, having a remarkable application in the field of art theory, Liviu Vlad is also a creator of art whose activity in Ia?i, in Romania or abroad has brought him revealing notoriety. If the rigors of the taught course place him at an equal distance between science and creation, his imaginative fantasy allows him to deeply search inside the universe of forms created out of the need to reconfigurate this world from a purely subjective perspective. The main idea is that painting does not represent what is visible, but it makes visible and fertilizes the imaginary of the artist, thus enabling the setting up of excitingly appropriate hypotheses regarding this world. Among the background reasons of today’s compositions, we identify the need to restate the basic principles of organization, the created structures and forms carry a message of communication characterized by visual surprise. The previously stated rigor is transformed in painting into elements of logics associated to the ineffable, not at all paradoxical. Imaginative verve is motivated by the required comprehension of structural rapports, of the wide and easy touch, not forgetting the cohesion of the whole. Probably, after a gestation period nurtured by aesthetic principles which bring order in the spotlight, the spontaneity of touches suggests permanent complementarities and suggestive adjacent. Thus, the dynamic are of composition determines me to notice that an insatiable vital impetus organizes the surface and brings order among the force vectors of the composition. Not by chance will the viewer be completely surprised by the optimum way of evolution, from the first brush to the expressive unity of the whole. Interior balance is opened towards possible ways of continuing work; therefore we witness the artist’s life where the immanent rhythms of hypothetical visible become certainty of the infinite for a moment. The preoccupation for artistic structures is a matter of the arguments deduced from the visible universe, interpreted according to metal schemata assimilated through culture and expressed through the means of imaginary. The relationship real-ideal establishes connections to the recognisable earthly elements, being linked with the spiritual ones. The pressure imposed by the need to personalize the artistic discourse, the individual artistically expressive fingerprint is motivated by the necessity of another form of genesis which has intellectual and artistic roots. The idea of the vital impetus appeared, of course, out of the vital substance of the artist and it was the result of the need to expand the territories of investigation of the visible universe and imaginary world. Decoding these artistic compositions means permanently discovering new visual surprises expressed at the level of the whole, where interior architecture motivates the artist’s vision, while the chromatic basis is responsible for unleashing fantasy which is constraint free. I notice, as an essential element, the waving of chromatic territories as a perpetual movement of the surface, kindly inviting the viewer to follow them, having a comforting role or just detached. Anyway, these meanders make one’s sight follow the spiral-like paths of the composition or to discover the flutter of an angel’s wings. Moreover, the exodus towards light has an open door towards light in us and outside our own being. Such tracks which are far beyond earthly matters transform the eternal motif of flight into a reflection topic which is also a means of expressing the ineffable. All hypotheses regarding Solar Organ or Fire Bird, Meanders or Arcades are nurtured by the constructive appetite of the author and his availability towards chromatics which is obviously marked by a strong personal touch. Large touches, the art of giving them value, complementary juxtapositions, the rhythm of colourful areas are connected to long-practiced dexterity and unequivocal option. The paths of harmonious touches offer a certain interior tension to the whole, having an energetic effect over the viewer. The option for suggesting The Vital Impetus, linked to compositions inspired by the world of the vegetal, reminds me of the ornamental echoes of Art Nouveau at the end of the XIX-th century, suggesting the idea of a successive germination as a symbol of perpetual renewal by rebirth. This protean vitality is expressed through fecundity, germination and other expressions of the eternal vital impetus, considered the triumph of life. The artist has a philosophy of dialogue with the visible, on his own expectations’ map, there are symbolic signs. Thus, he creates compositions that suggest perpetual regeneration, therefore eternity. His compositions are inspired by cave structures and earthly elements such as monoliths, while others are marked by the theme of leaving behind earthly structures. Not only does the totem seem to be, metaphorically speaking, a sign of an ancient culture, but also the suggestion of a symbolic continuity. Liviu Vlad, an intellectual with fertile resources of artistic culture, imaginatively preoccupied by essence, transforms every exhibition in an event marked by the debate of ideas. The man and the artist Liviu Vlad digs deeply into the depths of this world and of his own self, hoping that, through art –in a moment of grace –he can catch the form of the ineffable...
Art Critic, Valentin Ciuca