103. Portrait du femme avec deux guerriers

In his creation, the artist particularly resorted to the subconscious, consistently ignoring logical interferences. The artist's proposed mise-en-scène becomes, par excellence, a fusion of visual dramas that defy the laws of nature. Mazilu compressed the human silhouette to the point of abstraction and focused on his characters' face, which he considered to be one of the most expressive body parts, together with the 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 gravitated 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 are only deciphered 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 visual discourse, which bears an astounding expressive strength, around compositional chimeras. (D.C.)

Literatura

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

Dimenzije

width 92 cm, height 65 cm

Opis

acrylic on canvas, signed bottom left, in green, "Mazilu"

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