"Sculpture as effect of gesture dynamics"

Gabriela Drinceanu has a calling for intempestive creative spirit, always prevailing. Lacking any complex, she lives with a belief in the genuine reality of her own dreams, postulating this belief defiantly above the reality itself. The univers of forms she kneads embodies such an alternative world, sliding, hyeratically and seemingly weightlessly, through other worlds. The exhibition from "Artis" Gallery of the Jassy artist, entitled "Framed transfers", is, in a way, the illustration of such vision, both reachable and transcendent.
Every since her exhibitional start, back in the '90, she has surprised through the unconventional of her plastic languages and options, through the playful flavor of its space constructions. The notion of spaciality, according to the concepts used by the artist during the last 15 years, is the resounding and sensible environment, where the movement of lines, plane or angular surfaces may germinate tridimensional readable and coherent forms. Therefore, it is not an accident that the tomes of Gabriela Drinceanu create the illusion of a fabulous staging in continuous reconfiguration.
A stage animated by creatures that seem extracted of the medieval mysteries played by itinerant bands in the boroughs of the West, or of the ethereal and truculent world of the "shadow theater" of the Far East. In general, her art  is a continuous challenge of all sorts of cultural references stored throughout time in the visual memory of humanity. The artist is obsinately counting on this participative conduct of the visual dialog partner. Her creative mentality, so vivid and modern in fashion, rejects the contemplative extasy of others. Hence, the polemic assuredness, the visceral modernity of her vision and the taste for ascetic synthetism of forms. These are the sources of her inclination toward the open and omniform visual spectacle. As for the sculptural pigmented happening  with subtle pictographied interventions on the surface of  fretted objects of unfashioned wood and accompanied by pedant and expressive "framings" of choreography and pantomime, aimed to empower the gesture substance and the dramatic dimension of her sculptural concepts.
Regardless of the plan on which her imaginative impuls operates – the hallowed one, oftenly frequented and understood as a sum of archetypal simbols of a spiritualized and cordial reality emptied of the bigot veneration context, and the secular one, exalting the playful instinct and the sensorial pulsation of a vivid reality – the artist configurates unaffectedly and expressive elegance, humorously sometimes, a univers of light structures, that only mime the parodic improvising. Entire groups of summary coloured and ingeniously assambled fretted figures set in motion only by the modetnism of gesture rethorics that sustains her whole plastic discourse.
Gabriela Drinceanu seems to support her sculptural conception on, more than other guild collegues that use similar languages and stylistic expressions, on the unusual and unpredictible "anthropo-dynamics" of her inner humours. Obviously, those related to the thematic realms above enunciated. If, in the realms of hallowed, the evocation of the flatened anthropomorphic image is one inspired by the subjective interpretation of icon canon and byzantin symbolistics, in the realm of secular, the poor, impersonal, and voluptous-pathetic "choreo-forms", in their luring gymnastic convulsions they imagine.
That is why the artist does not agree (although she knows well enough the myseries of religious art) to submit her sculptural vision, as she assumes it now, to no pouncing pattern or doctrinal, aesthetic or encomiastic edict, or to other conventionalized temptation. That is the reason why, I believe, her sculptural compositions and installations, having as a explicit pretext representations of hallowed univers, resume and develop propensily, in agreeable spatial transfiguration, the humanoid archetype of angels, archangels, seraphs, cherubs, rather than the one preserved by the edenic pantheon of the saints. The contemporary sensitivity seems to inspire the artist the attraction for the pattern of spiritualized and cordial humanity represented by the former. Interpreted, it is true, as friendly and funny cohorts of angelic tumblers, with a discrete mockery grin. One finds the same excitement of humanoid exciting stagings lso in the works that capitalize the long and diffuse tradition of profane imagery.
The joyful phantesy of her "choreo-morphic" creations and the expressive straightforwardness o the gesture suggestion, attained by means almost minimal, unveils various and richly toned humours and sensations fo the modern "being" modern, always alert and tensioned valorized by the vivaciousness of these "stagings", by which the artist displays virtuosically each sculptural essay.

Corneliu Antim – art critic
February-March 2008

Since she started, Gabriela Drinceanu has been pursuing the extention of the possibilities of sculptures, exploiting the various possibilitie provided by her spatial, material, volumetric, and pluriplane interdependencies. All these conditionings/possibilities fall into a conceptual approach setting their sights, every time, from one project to the other, on more levels of discourse – that of the profound meaning, always anchored in anthropologic condition, as it can be signaled and developed by the humanoid sign, the referential one, that elaborates on different interpretations of the human condition (corporal, psychological and of human spirituality) expresivity formal/material, that leads it with necessity toward the integration of chromatics in the sculptural discourse and the dynamism, as a problematic of axes, crossed surfaces, play of volumes invoked by plans in motion, wholes, as intrusions or space collaboration, as fictional volume or excavating force, the sculptor  exerts a permanent demand on the beholder, compulsory collaborator in elaborating of the narrative trama, of the cultural location and especially of the perceptive reconstruction exercise of a whole of the dramatic plan architecture, expresionisms, and active wholes, wholes-track of a plan in motion.
The most recent project opens a series of extremely interesting experiments related to the confruntation of the plastic object and the receiving subject and proposes a double reflexion of both the work in the beholder and of the beholder in the work, by a substitution procedure. In the conceptual depth of the project can be found the theme of the double, of transfer between the hypostases of being, between alive and artefact, both under culture rule. The alive characters (actants), models, assume the role already warranted by the sculpture and contemporary performance – vivid statues of postmodernism of the '80s, and the sculptures propose posture, movement, ritual choreography themes, condensed in definitory rest. An inevitable objectivization of the living character, a objectivization of the perceiving act and not only of the body responds to the subjectivization of the object, specific to the artistic creation, to the artistic object.
The project reaches the mimetism only as far as the active, dynamic area is concerned, of the humanoid identity (synthetic humanoid) – of the statue and reflex in the gesture imitation   instituted in rite by work and art. Positions that require also immovability in which the tension of synthetic gesture is comprised.
Ulterior stages will amplify this procedure of intrusion, ambiguity of play that exploits the identity confusion. Specularity will involve a third plan of reflexion in an instance passively reflected (mirror) and, probably, kinematic assistance, a video reception with emerging projections, not as mere repetitions in video projections of an assembley of substitutive-speculative gestures, but as a series of interventions of remontations, interferences and overlaps, deepening the phantasmatic characteristic, the suspension of certitudes of real as mere effect of perception.
I do consider the ongoing project of Gabrielei Drinceanu (already in possession of awards received at important manifestations) exciting, full of experimental possibilities, as a result of meditations on the current conditions of the relationship between the creator and the receptors through the agency of the art work, on the capitalization of the creating gesture, as a complex cultural gesture, of sculpture as spatial scenography, in the proximity of choreography, involving the ambient.

PhD. Prof.  Alexandra Titu
West University of Timisoara
Art critic
Member of the Union of Plastic Artists – Romania
Member of the International Association of Art Critics

Constantin Prut
- text exhibition "Framed transfers" "Artis" Gallery Bucharest, February-March 2008

Artistically,  Gabriela Drinceanu leans on some cultural achetypes, emerging especially of the popular art. She understands however not to evoke these archetypes, not to describe them, but to integrate them in the artistic discourse.
Her sculpturs, about which we can say, from the start, that cultivate these non-flats, the tridimensional form, the ronde-bosse, obtained from spatial elements acummulation, shows now it constitutes a very singular discourse, that is almost a theoretical conception of the volume, of the sculpture, and thus, I believe, she enlists for these debates on image.
The obsession with which she appeals to human-centered resorts, to the human image, convoked for a specific meaning, not described, speaks of the interest for the duration of these representations. In my opinion, it is a very good thing she adds to the sculptural works some pertaining to the spectacle, performance, opening after all the sculptural expression to the public space.


Notes to the Framed transfers, from sculpture to performance and photograph frieze, signed by Gabriela Drinceanu, 2008

The physiological changes in the corporal evolution can not elude the mith, being represented as an initiating path, as a adventure controlled by story-telling, by narrative stations. Temporality is always lived corporally, dresed with the veil of nostalgy, expectation, worry, exhaustion, need and most of all desires. Between the powerful self and the self's destiny in the world stands the body, as a sophisticated volumetric  membrane capable of receiving the rush of changes. Thus the corporality means mutations, metamorphosis, mith. "Man is a irreversible in flash and blood! Man is aa embodied irreversible: his whole "being" consists in becoming (i.e. in being without being yet) and, more than that, he becomes (ad-vene, super-vene, sub-vene), but never re-venes ", the philosopher exclaims ( Vladimir Jankélévitch, La Mort,1977 ) .
The body for itself, "the toe of the world", as Merleau-Ponty discribed it, is the primary tool, which we cannot be substituted for nothing else, is "the point of view on which cannot prevail no other point of view" ( Le Visible et l'Invisible, 1964 ). The body is a nexus of the symbolic order, is a symbol among symbols. Still, the body may very easily slip into alterity, into nothingness, because it is the entry threshold of a vaste phantasmal field. "Any theory of the body, Jean-Paul Valabrega says, cannot be, simultaneously, no more than a phantasm theory " ( Fantasme, mythe, corps et sens, 1980 ).
The allegorized, ritualized, emblemed body is, in fact, in the order of representational, such of the prism that displays in the order of light all colours; in the order of symbolic, the body displays all cosmologic references. Freud claimed that the imaginary fabrications the most elaborated are bodily projections or sublimations of the bodily structure.
After the practice of votive images, of thaumaturgic ex-votos, heather or Christian (parts of figurated and full of magically benefic signs bodies) and after that of hallowing the relics in their figurative shrines, the pieces of the body acquire, as a result of sensibility to surrealism, an ambivalent route, toward unsettling and demoniac, through their emancipating animation unto the unity of the body. The Jassy artist Gabriela Drinceanu is declaredly fascinated by anatomic fragmentation, of which results an expressive and personal repertoire of abridged gestures. They are fragments of "mimoplasmas", as Marcel Jousse would put it (L'Anthropologie du geste, 1974). This author, enthusiastic promotor of gesture anthropology, deduces from Mimema (the minimal unity of gesticulations foregoing the language, Mimème, in French), paleolithic mimograms and mimoplasmas paleolitice, namely the plastic observation of gesture.

Aurelia Mocanu – art critic  

Alexandra Titu - exhibition "Angels and People"
Cupola Gallery, Jassy, 10-20 December 2006

Insertion of form into space, the relating of the substantive model to the typical image, a relationg that imposes the cultural meaning, the processed meaning, the hermeneutic meaning of this complex sculptural discourse, of the complex interrelation between form and symbol. Gabriela Drinceanu sees things from the perspective of someone playing, but not just anyway, but only with serious meanings. The play is the only way to relate to the world, that allows the rite, the cultural development, that allows that the absence turn into presence, and the presence be transformed in time and space wherever it is needed. This subtle, conceptual play lies at the foundation of the elaboration of connexions and cultural routes.
The notched off forms, with all these expandings, enpower the figurative, directed to humanoid. The angel becomes humanoid, and, more than that, we witness the specialization of human, all dangling between   abstract and substantive.
Human corporality is full of attitude: angels are right here, present, it is as if we could be sculptural, it is as if we could be angels, all becomes a complex game. We are all cought by this connexion, the artist communicates with the visitor, provokes as to participate interactively, compels the spectator to communicate with the sculptor through the agency of the artist.

Constantin Prut- exhibition "Angels and People"
Cupola Gallery, Jassy, 10-20 December 2006


Gabriela Drinceanu buildsw her human images not on the ronde-bossee principle, but having a certain flatness, by formuling the line of doscourse of this circular hypothetical visit, thus revealing a complex of notice angles. She applies a set of formes that give the whole the ronde-bossee characteristic.
The photo-document wrapping their sculpturs shows us an interference between the sculptural discourse and the situation of subsumed image.
I deem the present exhibition a very important moment for the situation of image in these parts of Europe, and I believe Gabriela Drinceanu has reached an utterly interesting artistic level.

Valentin Ciuca- exhibition " Angels and People "
Cupola Gallery, Jassy, 10-20 December 2006


The challenge Gabriela Drinceanu so originally addressed to us is one that needs to trigger our cognitive resorts, that is a certain knowledge of divine and, as a reflex gesture, the discovery in the divine of our confines. The ideas of man and angel are complementary, assuming the general attitude where we actually debate the struggle within. The artist wants to alliviate the human silhouette of useless material burden and uses the angel as agent, associating the images, the wheel, exactly as a form of existance of matter.
The photo frame enters a perfect correlation with the sculptural images.

Alexandra Titu
- text exhibition "Framed Transfers", "Artis" Gallery, Bucharest, February-March 2008

The works Gabriela Drinceanu proposes tries to open the artistic univers toward a form of interactivity, which is fictional only in a plan, inviting the beholder at a game whose narrative is amplified by the scenes staged by the works. These works that put in discussion the theme of relationship between presence and absence of volume, form and space, form and the imaginary out of which form emerges, form and model or anthropomorphe, anthropomorphe as a human-centered model, anthropomorphe in the sense of human morphism adding to itself an entire series of elements it integrates into its silhouette, mechanical elements, symbolical ones and so on.
We stand in front of a package of hermeneutical routes, for there are many approach ways it refers to, approach ways of the vesting the art work this discourse stresses. On one hand, it is this relation between form and space, on the other, the relation blocked for so long in Nimesis, between the reality of the human body and the interiority of the imagination of human artistic and the work of art. The latter is a replica of the human figure, as it emerged in the universal culture, on the other hand the work has always been instituting the models the human being always refer to  (Orland modifies his figure by submitting itself to some utterly complicated surgical procedures in order to obtain a  mixture of quotation of beauty canons deposited in the European museums.)
The human body quotes, the human behaviour quotes the human gesture producing the choreography quotes too. These are the mutual thinking patterns and here we are, meeting this theme so complex of the mirror and barely touching the theme od Narcisist destiny of the human being. On the other hand, we have this relationship between the univers of dream, the univers of probing the major cultural problems, the univers of actual cultural expression, so much integrated in the idea of play and postmodern re-interpretation of the theme of play.
I have stressed only a few of these trends the work of art reaches, stresses, but rhetorically directs its attention elsewhere, and none of these signs is imposed as a rhetorized theory, the rhetorics is a substitute for phntastic univers, pertaines to the dimension of a route, very clearly rooted in the archetypal found stored in that living museum that the popular art is, quotes these mythical old structures, but leaves them open so that the man who comes and is metaphorically represented by young actants may enter and interfere in these scenarios with their own projects.
One very important thing Gabriela Drinceanu stresses is that of placing the human figure at the center of the culture the humanity itself created, it is its beauty. Its beauty does not depend on certain canon, but has always produced canons, this beauty so much hidden, that created so much unsatisfaction, especially in the contemporary cultural univers, as a mith that had to make itself visible in order to attain a human truth more profound than beauty. But crossing depth after depth one can find the essential mobile of human figure. To remind this with a cultural procedure, this way of bringing to surface the idea of beauty, and not its formula allows everyone who plays along, who gets engaged in the narrating to enjoy this nucleus to which they participate. I believe that, beyond all references, this is one of messages of Gabrielei Drinceanu. We should pay attention to this messages. 

The Dictionary "A century of Romanian sculpture" Meta Printing House, Bucharest 2001 Text Constantin Prut

Gabrielei Drinceanu's option for the object with status between decorative ad monumental is motivated by its enlisting in the neotraditional trend, with rligious conceptual support. Without actually being a part of the neo-Orthodox group – she is rather heteroclite at the level of morphological tools – she practices a symbolic language and submits to the rigurous exclusion of tridimensional representations, typical to the aesthetic of Orthodox art. Hence, the status of objects, evoking pillars, thrones – specific elements to the ambient of the hallowed space – or, if they presuppose the humanoid hint, this is highly schematical (the cycle "People-Humors"). On objectual support, obtaind by rithmation of abstract volumes, or of great self-sustaining plans, a decorative discourse is under way, obtained by incisions and pictural affixation, at their turn operating with symbolic signs specific to thes cultural area. 

The Dictionary "A Century of Beaux Arts in Jassy", ART XXI Printing House, Jassy 2004
Text  Valentin Ciuca

Set free from the constraints of one or another of materials, Gabriela Drinceanu manifests an unquenchable desire to work, and does not hesitate to challenge the public to follow her on the way, oftenly damaged, of her phantesies become sculptures. Whatever she is touching may shift into an object with artistic-plastic value, because, within postmodernism, to ignore the rules is the first rule.
In the intelligent spirit of the imaginative awarness, she creates flying humanoids topsy turvy, hanging by delusive lines of history, lamentably lingering in a continuous primitivity. In general, it is suggested a humanity in crisis, at the edge. The volume endorses the most phantesist treatments: wrapped in tinfoil, and than peirced by hundreds of nails, it becomes a mere board-frame, it multiplies by an aberrant cloning, and ends up, Kafka-like, in absurd. Her visions evoke the desperaton of the recent man.

…The sculptors distinguish themself through the proven virtuosity. They are these unmistakable and unforgetable stylistic entities. What a mystical athmosphere surrounding the "Ark" of the vast scenography sculpted of Gabrielei Drinceanu! That is to give an example of phantesy well sustained in plasticity.

Radu Negru – art critic, "Jassy Plastic Arts today", 1995

Although sculpture today is unconceivable outside the ambient environment, in the end the reality received it once more in the art gallery halls, in the formula of "small sculpture". The monumental reduced to small sizes adapt this way to another aesthetic function. Gabriela Drinceanu suggests by her works the meaning of an accomplishment. The passing of these formulas from one to many, symbolically descended from an ark of hope. The mystery envelops these works allowing the beholder to feel the floating measure of the eternal chimaera.

Traian Mocanu – "Jassy Contemporary Art in Bucharest", Cronica, 1995

ANGELS AND PEOPLE, balance between reality and state of wistfulness:
The people – inner, hidden, overwrought, trapped by wheels, engaged in interdependent mechanisms humors.
The angels – the idealized, colored forms, each one is the prototype of man or (the man is an echo of his angel) depositaries of the memories of human actions and traces.

- The interdependence between the real space and the one created by image: the play of artistic creation as a complex cultural demarche, the sculpture as scenographic, theatral, chireographic, ambiental space.
- The artistic materializationof the ideatic transfer, by gesture intervention and the placement of the beholder in a new, unusual context, compeling him to find solutions for things that do not match the daily scenario. This exercise develops in the beholder-parttaker an independent, present thinking, it transfigurates thoughts and desires.
 The resulted plastic image recomposes, resizes, reinvest new emotions in itself. A metamorphosis of the place is occuring, by changing the habitual points of view, where the free movement of the beholder (visitor) or the attaining of the sculpted works, it completes and gives meaning to the whole artistic concept.

                                                                      Gabriela Drinceanu