An exciting exhibition through its title — "The Stairway" — a young artist, Ioana Irimia and a story of the cyclicity of moments, thoughts and feelings that humanity has been stirring since Creation until today. The maturity of the artistic approach in proposing a model of understanding and expression that shapes the connections between art (which has as poles manner and nature), spiritual and philosophy (living, knowledge and existence) and aesthetics (rule and freedom), in a concept articulated in the form of an installation that can be read either by accents or in its entirety, coagulates in a convincing discourse on the present, through the magnifying glass of the past.
An exciting exhibition through its title — "The Stairway" — a young artist, Ioana Irimia and a story of the cyclicity of moments, thoughts and feelings that humanity has been stirring since Creation until today. The maturity of the artistic approach in proposing a model of understanding and expression that shapes the connections between art (which has as poles manner and nature), spiritual and philosophy (living, knowledge and existence) and aesthetics (rule and freedom), in a concept articulated in the form of an installation that can be read either by accents or in its entirety, coagulates in a convincing discourse on the present, through the magnifying glass of the past.
From this past, Ioana Irimia takes elements that remind us of the biological and spiritual evolution of man, following the 9 months of the physical growth of the fetus, in tandem with the subsequent habits and deeds of man. Ioana Irimia's ladder is not easy to perceive. The ladder, as a symbol of universal becoming — ascending or descending, temporal refuge, aspiration to the absolute or collapse — invites an analysis of each work, an analysis that will make us discover, in every mirror-painting focused on society, a series of vices and virtues vibrantly transposed in terms of modern painting.
From this past, Ioana Irimia takes elements that remind us of the biological and spiritual evolution of man, following the 9 months of the physical growth of the fetus, in tandem with the subsequent habits and deeds of man. Ioana Irimia's ladder is not easy to perceive. The ladder, as a symbol of universal becoming — ascending or descending, temporal refuge, aspiration to the absolute or collapse — invites an analysis of each work, an analysis that will make us discover, in every mirror-painting focused on society, a series of vices and virtues vibrantly transposed in terms of modern painting.
The artist challenges the viewer to extract the seed of truth implanted in the story, to become aware of the good and the beautiful, or the vices and consequences, without an articulated moralizing discourse. The ladder, which traditionally divides a space by filling it, this time multiplies in meaning — from the classical ascending symbol, which designates the opening to knowledge, to an integrated lifting of the entire being. If we refer to the symbolism of the ladder — which unites or separates two dimensions, the link between aspiration and accomplishment, the only physical means that allows ascension — then Ioana Irimia's approach is one of completion with a spiritual dimension of good, a dimension that once reached, extends in the form of over 30 narratives, on the viewer.
The artist challenges the viewer to extract the seed of truth implanted in the story, to become aware of the good and the beautiful, or the vices and consequences, without an articulated moralizing discourse. The ladder, which traditionally divides a space by filling it, this time multiplies in meaning — from the classical ascending symbol, which designates the opening to knowledge, to an integrated lifting of the entire being. If we refer to the symbolism of the ladder — which unites or separates two dimensions, the link between aspiration and accomplishment, the only physical means that allows ascension — then Ioana Irimia's approach is one of completion with a spiritual dimension of good, a dimension that once reached, extends in the form of over 30 narratives, on the viewer.
Plato stated that the eye is the most subtle organ of the human body, thus linking the idea of beauty to human sight, which he placed at the forefront of the senses. The artist's eye becomes a visual mediation between us (the viewers) and what surrounds us, a double of consciousness translated by color, in a saga that will never end. The entire project can be seen as an aesthetic adagio to the fragments of reality that humanity lives — conceptual notes painted in the Teachings of the saints but, especially, a revival of our soul memory, through the triple character of painting: psychological, sociological and artistic.
Plato stated that the eye is the most subtle organ of the human body, thus linking the idea of beauty to human sight, which he placed at the forefront of the senses. The artist's eye becomes a visual mediation between us (the viewers) and what surrounds us, a double of consciousness translated by color, in a saga that will never end. The entire project can be seen as an aesthetic adagio to the fragments of reality that humanity lives — conceptual notes painted in the Teachings of the saints but, especially, a revival of our soul memory, through the triple character of painting: psychological, sociological and artistic.
Each reading of Ioana Irimia's works is a decoding in terms of her own soul. Beyond the plastic language and its reading, the artist's contribution to human knowledge and understanding remains a small step towards shaping the viewers of a generation, in the direction of understanding and living in the purity of the spirit. — Dr. Maria Bilasevschi, art critic
Each reading of Ioana Irimia's works is a decoding in terms of her own soul. Beyond the plastic language and its reading, the artist's contribution to human knowledge and understanding remains a small step towards shaping the viewers of a generation, in the direction of understanding and living in the purity of the spirit. — Dr. Maria Bilasevschi, art critic
In her pictorial project, Ioana Irimia proposes a fascinating combination, conceived and developed in the most authentic transdisciplinary and postmodern spirit, of themes and areas seemingly irreconcilable in the mental space of today's humanity. Her pictorial installation, composed of thirty-nine equal circular canvases, 50 cm in diameter, begins with a series of visual metaphors depicting "tomographic" hypostases of a human fetus, captured during the nine months of intrauterine life, which she continues with original pictorial transpositions of the thirty symbolic "steps" of the scale of moral and spiritual becoming, as described in the medieval theological treatise "The Ladder of Heaven", by Saint John the Ladder.
In her pictorial project, Ioana Irimia proposes a fascinating combination, conceived and developed in the most authentic transdisciplinary and postmodern spirit, of themes and areas seemingly irreconcilable in the mental space of today's humanity. Her pictorial installation, composed of thirty-nine equal circular canvases, 50 cm in diameter, begins with a series of visual metaphors depicting "tomographic" hypostases of a human fetus, captured during the nine months of intrauterine life, which she continues with original pictorial transpositions of the thirty symbolic "steps" of the scale of moral and spiritual becoming, as described in the medieval theological treatise "The Ladder of Heaven", by Saint John the Ladder.
Her circular compositions are inspired by the medieval artistic imaginary, but are filtered by the chromatic sensitivity specific to the spirit of contemporary painting. The possibility to exhibit this pictorial project in the "Baptistery" hall of the Metropolitan Museum of Iași is an exceptional occasion for thematic and conceptual framing in the most appropriate place. On the other hand, the chromatic modernity of the works represents a vein of capturing the attention of young people on themes of great depth and beauty, which concern the Orthodox Christian spiritual and artistic tradition.
Her circular compositions are inspired by the medieval artistic imaginary, but are filtered by the chromatic sensitivity specific to the spirit of contemporary painting. The possibility to exhibit this pictorial project in the "Baptistery" hall of the Metropolitan Museum of Iași is an exceptional occasion for thematic and conceptual framing in the most appropriate place. On the other hand, the chromatic modernity of the works represents a vein of capturing the attention of young people on themes of great depth and beauty, which concern the Orthodox Christian spiritual and artistic tradition.
Ioana Irimia thus triggered the possibility of capturing the immediate attention of the young public, familiar with the phenomena of contemporary painting, introducing it "by enveloping" in the universe of its problems and concerns. The artist invests each formal sign and symbol with carefully chosen chromatic attributes, generating tensions and visual centers, dynamism and stability, within the circular compositions excellently managed in the economy of each canvas but also of the ensemble she makes.
Ioana Irimia thus triggered the possibility of capturing the immediate attention of the young public, familiar with the phenomena of contemporary painting, introducing it "by enveloping" in the universe of its problems and concerns. The artist invests each formal sign and symbol with carefully chosen chromatic attributes, generating tensions and visual centers, dynamism and stability, within the circular compositions excellently managed in the economy of each canvas but also of the ensemble she makes.
The installation is divided into two distinct visual and ideational registers, which generate a strong theological quality of the project, with direct reference to the eschatological dimension of human existence, obtained through salvation in Jesus Christ. If the first nine are almost faithful formal representations of a fetus development, the other thirty are inspired by medieval artistic sources — bas-reliefs, miniatures and Byzantine icons — but also by pieces belonging to Western art, from the time when the Byzantine theologian John of the Stairway lived.
The installation is divided into two distinct visual and ideational registers, which generate a strong theological quality of the project, with direct reference to the eschatological dimension of human existence, obtained through salvation in Jesus Christ. If the first nine are almost faithful formal representations of a fetus development, the other thirty are inspired by medieval artistic sources — bas-reliefs, miniatures and Byzantine icons — but also by pieces belonging to Western art, from the time when the Byzantine theologian John of the Stairway lived.
Her creative approach consists in generating configurations of chromatic ranges and technologies of an acute topicality, brilliance, beauty and complexity. Juxtapositions, overlaps, contrasts and subtle chords include saturated tones of acid colors, specific to current urban painting, from the great centers of planetary visual arts. Ioana Irimia's staircase, like the theological model of Saint John of the Stairway, moves "from High to High" and reminds us of the real meaning of existence on this level of Reality, that of spiritual becoming. — PhD Assoc. Prof. Cristian Ungureanu, Vice-Rector of "George Enescu" National University of Arts, Iași, Romania
Her creative approach consists in generating configurations of chromatic ranges and technologies of an acute topicality, brilliance, beauty and complexity. Juxtapositions, overlaps, contrasts and subtle chords include saturated tones of acid colors, specific to current urban painting, from the great centers of planetary visual arts. Ioana Irimia's staircase, like the theological model of Saint John of the Stairway, moves "from High to High" and reminds us of the real meaning of existence on this level of Reality, that of spiritual becoming. — PhD Assoc. Prof. Cristian Ungureanu, Vice-Rector of "George Enescu" National University of Arts, Iași, Romania
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