For the love of Venice

How could I explain nothingness, the sublime, eternity. How could my words express the perfection of this wonderful world that surrounds us. Although they seem to be from another dimension, my creations are inspired by what I see every day and fascinate me: reflections on the sidewalks in fresh puddles after the rain, copper and late green leaves projected on weathered walls, seconds of autumn sunlight, Rubensian roundness of clouds at the end of a September storm. I, in fact, am not a painter, I am a kind of jeweler who mixes these fantastic fragments from my little world in which Art breathes, a jeweler with a desperate desire to look for the beautiful in the ugly, but especially in the perennial, after time. I present to you a new work in the series "Between the Dark and Divine" / " For the love of Venice " acrylic painting on canvas, varnished, very large size: 130 x 150 cm signed Kloska October 2024 / will be shipped with a certificate of authenticity containing the details of the work and the name of the collector. If you manage to reach me in this presentation page is not by random. I don't belive in coincidence. It means that we are vibrating on the same frequency on this existence and we understand the world in the same way. I am not an "easy" artist, my works are elaborate pieces of art and my universe was biuld in many years of searching and hard work. My collectors are designing their all space by my art and they are not selecting the painting to match with the couch. I think I am one of the best, original, creative and spiritual abstract painting in the world. I don't seek celebrity, fortune, I am just greatfull to be able to keep creating every day and have a normal life with my family. I have created many artworks, I have pieces all over the world and I hope, in time, my art will grow and will be recongnise as one of the important one in art history. I am confident that I will leave a great legacy for the next generations. But, first of all, I am trying to give a certain allure to the works, and I think my stamp is very much related to the approach to light and the treatment of light in painting. I am very interested in the ephemerality we encounter around us. I am influenced and inspired a lot by walls in run-down areas, cracked pavements, rusted fences. There is an absolutely fascinating plasticity in these areas, and my art has a lot of elements, structures and terra-morphisms that I discover in these walks that I do and that I sometimes record and photograph because the details are easily forgotten. I have several series of works; I remember the first series, which was more unified, better defined: it was the theme of angels. I really liked the idea of humanizing the angel and trying to paint certain compositions where the inhabitant of the interval, the angel, seems somewhat trapped in our world. Thanks to these angels, critics, at least in Romania, attach an interesting approach to the angel and appreciate "Kloska's Angels" because they are very good works in this artistic area. Then I really liked to approach the idea of landscape differently in the sense of openness, of dense forest with clearings, but starting from figurative elements, I move into an area of universal creation. For me the initial form, for example that of the tree, is very important, but then I try to generate certain steps of modification of the main symbol and in this way I made a series that I called "Beyond the Inside" which for me is by far the most interesting and elaborate. I have another series of works, "Kafkian eternity with flowers at 7 pm", where I delicately approach the theme of static nature. I'm very interested in personal time, and even though it's widely used by many artists, I find it a fascinating theme because it's very generous for my creative space. More recently I started a cycle, "Between Black and Divine", recalling my beginnings as a painter. I am very interested in the idea of darkness seen as lack and non-creation. In these compositions, I create a special contrast between light, which for me means dynamism, creation, passage, and I play with a symbolism of universal spirituality that goes beyond the human towards Divinity and the Creator. If God comes to the opening, he will study my paintings in this series very carefully and will want to know the author. There are many years in which I experimented because, from my point of view, the painting I do requires a high degree of experimentation. Of course I have formed certain skills, certain techniques over time, I have developed certain compositional games, and I usually do not start from a sketch, but have certain gestural automatisms and spontaneities. The paintings are elaborated in stages, especially because I work a lot horizontally through scraping techniques, depositing the color in a more watery state. I work a lot with washes, with transparencies, with interventions, and then for me the experiment is very important. Over the years I have "connected" to several themes and it has been very easy for me to just look around and be more sensitive to what is going on. A few years ago I lost someone dear, a grandmother who raised me in my early years and who was absolutely shockingly simple, but at the same time a kindness and a human quality that you rarely find. After the loss of my grandmother I started a series with the title "I would like to die in another galaxy", and the works in this cycle were more figurative. I got a little closer to the idea of passing, of death, but death seen as a journey, as a passage somewhere in another spatiality, in another temporality. I am very inspired by the passage of time and the intervention of time on us and on the things around us. So is light, the play of light, the metamorphosis of light, the changing valences of light, and man. Even if my works seem devoid of silhouettes, they are loaded with my experience as a human being, as a spirit, as a creator. Because we artists are essentially creators.