adrian – adrian adochitei

I search for a relationship between human beings and nature (nature is where human beings can find themselves again). Identification with nature represents a cultural relationship, the appeal for the viewer is to give a reason for existence, imparting meanwhile to the art the concept of evolution, from the position of herald to that of symbol.
The message (artist's secret criteria), which can be implicitly seen, is at the same time an emanation of the artist's sensibility and of the environment influencing him. The purpose redefines itself as a transformation of the viewer and the environment.
The human man-symbol of equilibrium and want of equilibrium – is a materialization of reality,represent characters that do not express a surface or visible reality, but a reality that remains hidden to the viewer, that is the artist's own reality.
The act of bringing to consciousness the State of Expectation (not apathy, immobility, indefiniteness, but the concrete mental state that is permanently present in the subconscious) made me understand the gesture applied to any matter that has to be organized in space; and how the artistic gesture is exteriorised by means of the hand.
The hand is shaped as to better correspond to objects, becoming the transfiguration of thoughts and desires; thus the plastic image represents the result of a way of thinking, of feelings, of saying.
I am a painter who, in my latest years, significantly defined the areas and functions of the pictural discourse.My training is in a well-known artistic environment - that of "Iasi school" that integrates tradition and modernity - at the same time Byzantine painting has left its mark on my conceptual and stylistic evolution.
Peinting in general flat shapes, carrying symbolic charges,i get the effect of three-dimensionality by accumulating spatial elements, the flat composition orienting itself toward the economy of the complex and coherent ensemble. This conflicting state of the discourse continues in a subtle manner at the level of the symbolic charge that originates in different spiritual springs. The Christian elements meet the elements borrowed from the archaic horizon of the decorative and symbolic pagan alphabets. In essence, this dialogue does not operate as a contradiction of the Christian conduct, because this one, spreading within the territory of the pagan cultures,integrated to my field of signification various aspirations toward sacredness and the local symbolic systems. In the artists perspective, the pre-Christian figurative systems are considered as preparing for the great Christic revelations.
By the scoring of forms and symbolic guide marks,my pictures offer us a cosmogonic structure, with a clear opening to the present dimension of existence. Placing itself explicitly under the sign of the sacred,the work commits itself for the sake of polemics in as much as for the artistic language. My work proposes cultural references and major organising principles, opposing the temptations coming from the informal chaos.
Issuing from the proximity of the traditionally Byzantine frescos and mosaic (my name is heard in connection with various churches that me and my wife Nicoleta Adochitei painted), my pictures bear, in a natural manner, chromatic elements. Some details may be perceived as independent compositions. These chromatic supra-structures compensate for the asceticism of the pictural volume and carry, in their turn, a symbolic charge.