Titi
CEARĂ

 
TITI CEARA

Nascut in Techirghiol, Constanta , Romania
1983 - Absolvent al Academiei de Arta, Iasi, sectia sculptura
Membru al Uniunii Artistilor Plastici (UAP), Romania
1990 - Bursa de studii a Ministerului de Externe Italian
Premiul pentru Sculptura al Academiei de Arte “Pietro Vannucci”, Perugia Italia
2000 - Premiul UAP pentru Arta Ambientala

Expozitii personale
1992 - Galerias del Este Valencia Spain
1993 - Galeria Orizont Bucuresti Romania
1994 - Accademia di Romania, Roma, Italia
1995 - Galeria Antiquo Mercado Requena Spania
1996 - “Ambalaje Umane”Galeria Simeza Bucuresti
1997 - Galeria Cuhnia Mogosoaia Romania
1997 - Galeria Alba Targoviste Romania
2003 - Audi Art Gallery, Bucuresti

Sculptura monumentala
2004 - Coloana, metal, Slovenia
2005 - Pastorul cu magarul Tekir, bronz Techirghiol

Simpozioane de Sculptura
1985 - Campulung [piatra]
1986 - Sibiu [lemn]
1987- 1994-1997 - Sangeorz-Bai [marmura]
1988 - Sighet [lemn]
1995 - Luxembourg, Parc de Merle, Hotel Parc Belair [lemn]
1997 - Bucuresti [metal]
1998 - Resita [marmura]
1998 - Calarasi [metal]
1999 - Bucuresti [marmura]
2000 - Eforie Nord[ceramica]
2000 - Carbunar, Baia-Mare[marmura] Romania
2003 - Caransebes [lemn]

Expozitii de grup
1984-2001 - Salonul de Sculptura Galeria Orizont Bucuresti
1986 - Muzeul National de Arta
1987 - Galeria Dalles
1989 - Galeria Orizont
1990 - Szombately Gallery Hungaria
1990 - Contemporary Romanian Sculpture Vienna Austria
1991 - Galeria Comunale Perugia Italia
1992 - “Corpul Uman” Galeria Apollo
1993 - “Optiuni” Galeria 3\4 Teatrul National
1994 - Novart Gallery Madrid Spania
1994 - “Marmura” Galeria Simeza
1995 - Luxemburg , Capitala euroopeeana a Culturii
1995 - “Oameni de lemn colorat” Galeria Catacomba, Bucuresti
1996 - “Memoria durerii” Galeria Apollo Bucuresti
1997-1998 - “Sacralitatea” Palatul Parlamentului
1998 - Untergrund Messehalle Leipzig Germany
1998 - Mucsarnok Museum Budapest Hungary
1998 - Cobra Museum Amsterdam Holand
1999 - Musee Ianchelevici Louviere Belgia
1999 - “Desene de Sculptor” Galeria Simeza
2000 - “Desene de Sculptor” Muzeul Literaturii Romane
2000 - Expozitia Mondiala Expo 2000 Hannover, Germania
2001 - 5\85 “Desene” Muzeul Literaturi Romane
2001 - “Arta bate Arta” Vrsacs, Iugoslavia -Galeria Meta
2003 - Sculptori Romani Contemporani-Galeria Apollo
2006-2007 - Muzeul de arta Constanta
2007 - Muzeul de Arta Comparata Sangeorz-Bai
2008 - Galeria Orizont – Desene

Adresa
Str. Cobalcescu nr. 20 cod 707681 Bucuresti S1 Romania
Tel. +4021 3110 659 mob 0726 327 363
E-mail titi.ceara@yahoo.com
NOTE DESPRE SCULPTURA LUI TITI CEARA

Prin personalele din 1993 si 1996, in cateva din taberele de sculptura la care a participat, prin ansamblul creat intr-un parc luxemburghez in 1995, prin lucrari integrate unor expozitii de grup, Titi Ceara s-a impus ca sculptor in lemn, reprezentativ pentru o noua sensibilitate si facand parte dintr-o generatie aflata la prima... maturitate. Este un autor a carui opera s-a acumulat mai degraba discret, un timp, pentru ca apoi etapele sa se enunte si sa se succeada rapid si clar totodata, “la rampa”, atragand progresiv atentia colegilor, a criticilor, a publicului.
Cioplirea nu se mai afla in miezul tehnic al creatiei lui Titi Ceara. Asamblarea, constructia, au trecut pe primul plan. Autorul marturiseste de altfel ca, mai de curand, il intereseaza potentialul arhitectonic al sculpturii in lemn. Iar elementele care compun aceste alcatuiri sunt mereu mai simple, mai putin prelucrate. Artistul este preocupat de cristalizarea unei idei, cu mare economie de mijloace. Figurile devin structuri, formele, “descarnate”, devin linii de forta. Ti se ofera, parca, doar directii compozitionale “trasate” in lemn redus la o geometrie esentiala, si cu ajutorul lor recompui personaje, scene, sesizezi ritmuri spatiale...
Titi Ceara nu refuza raportarea la traditie, o raportare nuantata si care prin reperele sale, poate sa intinda punti peste decenii, dar si peste milenii – sa nu uitam ca Postmodernismul ne declara, intr-un fel, contemporani cu intreaga istorie a artei. Criticul se simte stimulat in a identifica, pe cont propriu, cateva situatii in acest context, in creatia din ultimii ani a lui Titi Ceara. De pilda, o sinteza de ecouri futuriste, cubiste, constructiviste, cu alunecari in timp (fragmente de motive, relief, desen) pana in arta Mesopotamiei. Azi “ambalajele umane”, dincolo de extensia simbolica si valentele de comentariu social, implica, din punct de vedere formal, si procedee minimaliste, chiar neo-dadaiste (mergand spre “izvoare”). In sfarsit, de ce sa nu punctam si filiatii larg dezbatute in sculptura noastra contemporana – este vorba de aducere la zi a tendintei de a asocia traditia populara a artei lemnului cu filtrarea moderna a arhaicului, cu primitivismul international.
Sculptura sa recenta intra intr-un proces de abstractizare, de reducere la forme geometrice esentiale, fara a fi uitata referinta la uman. Din acest ultim punct de vedere, problematica este actualizata. Individualul devine tipar, se topeste in anonimat. Accentele dramatice sunt continute in tematica si in infrastructura. Desenele ce se asociaza “ambalajelor umane” sunt, parca, din familia formala (si poate nu numai) a anahoretilor de la Cozia si exprima direct ceea ce lemnul sugereaza.
Etapa actuala a creatiei lui Titi Ceara este una in care forma nu se doreste cuceritoare prin ea insasi. Forma reprezinta “rostirea” severa, discreta dar concentrata, a reflectiilor autorului atat pe teme profane, cat si sacre.

ADRIAN GUTA

PAVEL SUSARA

In importanta categorie a artistilor care au revenit la antropomorfism, ca dovada a unei mari disperari, intra, cu o voce grava si personala, sculptorul Titi Ceara. Recentele sale prezente publice (galeriile Orizont, Simeza si Cuhnia) marcheaza aceasta apropiere decisiva de universul unei umanitati frustrate, scoasa din functiile sale definitorii: individualizare, viata interioara, definite psihologica. Daca in expozitia de la Orizont, sculptorul glosa pe marginea abrutizarii umanului si sugera anatomii nedesavarsite, realizandu-si lucrarile in textura moale si scamosata a lemnului de plop, careia ii punea in valoare accidentele de fibra, in cele ulterioare discursul s-a ordonat in jurul ideii de “ambalaj uman”. Lucrarile se construiesc acum prin asamblare, iar materialul este recuperat chiar prin dezafectarea lazilor de ambalaj. Forma libera, obtinuta altadata prin spontaneitatea cioplirii, este inlocuita cu geometrii severe, cu paralelipipede statice si stereotipe. Omul de serie, realizat pe banda rulanta, golit de substanta sa individualizatoare, isi pierde intreaga specificitate si se inscrie ca un simplu episod intr-un nesfarsit proces de multiplicare. Miscarea este inlocuita cu imobilismul, grupul absoarbe si surpa orice aspiratie la autonomie, iar materialul reface metaforic starea de “padure” initiala. Pentru a nu lasa loc nici unui dubiu in ceea ce priveste nasterea si devenirea formelor, sculptorul ofera explicit si informatii despre “materia prima” pe care o prelucreaza. O categorie de lucrari sunt chiar bancurile de lucru pe care se desfasoara, asezate in aceeasi ordine severa, bucati de scandura si gramezi de cuie. Misterul facerii esueaza, astfel, in derizoriu si se autodenunta ca practica rutiniera, ca o simpla formula de “confectionare”. Din unicat si miracol, omul devine un biet surogat a carui esenta este propria lui carcasa. Alaturi, desenul nu face decat sa intareasca senzatia pustiului irepresibil. Anatomii acefale, osciland intre hieratismul bizantin si descarnarea prin abrutizarea fizica si morala, se aliniaza intr-o adevarata ceremonie a spectrelor. Linia si hasura, portretul emaciat si invazia de negru sunt suportul grafic al unui denunt vehement indreptat catre aceasta lume a stingerii incete. Tot ceea ce, in perspectiva renascentista, trecea drept masura a creatiei si plenitudine morala este privit de catre Titi Ceara ca peisaj dezolant si ca imagine a unei entropii galopante. Pierzandu-se pe sine, anulat fara speranta sub tavalugul istoriei, omul pare a mai avea o singura sansa: aceea de a alimenta, prin propria lui prabusire, starea de veghe a artistului si luciditatea sceptica a meditatiei sale.

NOTES ON TITI CEARA'S SCULPTURE

Through his one-man shows in 1993 and 1996, his participation in some sculpture camps, the ensemble he created in a Luxembourg park in 1995 and the works he integrated into some group exhibitions, Titi Ceara has compelled recognition as a sculptor in wood, representing a new sensibility and belonging to a generation in the prime of... maturity. He is an author whose work had a rather discreet growth for a while, only to reach afterwards a rapid succession of stages which brought him into the limelight, progressively attracting the attention of his colleagues, of critics and of the public.
Carving is no longer, technically, at the core of Titi Ceara's work. Assembling and constructing have come to the forefront. Moreover, the author has confessed to be more interested in the architectonic potentialities of wood sculpture. And the elements making up these structures are more and more unsophisticated and plainly wrought. The artist is preoccupied with crystallizing ideas with a minimum of means. The figures become structures, the fleshless shapes become lines of force. One seems to be offered only compositional directions “traced out” into wood, reduced to an essential geometry, directions which help you recompose characters, scenes and grasp spatial rhythms...
Titi Ceara does not refuse to relate to tradition, and he relates to it in a nuanced manner which, by its landmarks, can build bridges over the decades and over millennia as well – we should not forget that Postmodernism declares us to be somehow contemporary with the entire history of art. The critic feels stimulated to identify, on his own, some situations of this kind in Titi Ceara's more recent works. For instance, a synthesis of futurist, cubist, constructivist echoes, sometimes sliding back in time to Mesopotamian art (motif fragments, relief, drawing). Today, “the human packages”, besides the symbolic extension and social commentary valencies, involve, from the point of view of form, minimalist and even neo-dadaist methods (going back to the “sources”). And finally, we may as well point to the widely debated filliations in contemporary modern sculpture, i.e. bringing up to date the tendency of associating the folk tradition of wood carving art with the filtering of archaic elements, with international primitivism.
His recent sculpture enters an abstracting process, one of reduction to geometrical forms, without forgetting the human reference. The individual becomes a pattern, he melts into anonimity. The dramatic accents are contained in the themes and the infrastructure. The drawings associated to the “human packages” seem to be related – in form, and perhaps more than that – to the anchorites of Cozia, and express directly what the wood itself is suggesting.
The present stage in Titi Ceara's creation is one where form does not intend to win on its own. Form represents the severe, discreet and concise “utterance” of the author's reflections on both profane and sacred themes.

ADRIAN GUTA

PAVEL SUSARA

The important category of the artists who have returned to anthropomorphism, as a sign of great despair, is joined, with a grave and personal voice, by the sculptor Titi Ceara. His most recent exhibitions (at Orizont, Simeza and Cuhnia galleries) show his decisive approach to the universe of a frustrated humanity bereft of its characteristic functions: individualization, inner life, psychological definition. While in the exhibition at Orizont Gallery, the sculptor was glossing on human exhaustion and suggesting imperfect anatomies, by carving his works into the soft, ravelled texture of poplar wood, whose fibre irregularities he was turning to good account, in the subsequent exhibitions, the discourse focuses on the idea of the “human package”. The works are now created by joining, and the material is recovered by the very conversion of package crates. The free shape, formerly created by spontaneous carving, is now replaced by severe geometries, with static and stereotype parallelipipeds. The serial man, made on the conveyor belt, devoid of his individualizing substance, loses his whole specificity and becomes a mere episode in an endless multiplication process. Movement is replaced by immobility, the group absorbs and annihilates any aspiration to autonomy and the material metaphorically restores the initial “woods” state. In order to leave no room for doubt regarding the shapes' birth and becoming, the sculptor also explicitly offers information on the “raw material” he is processing. A series of works are the very work-stands on which there are displayed, in the same strict order, board pieces and nail piles. Thus, the genesis mystery ends up in derision and betrays itself as a routine practice, as a mere “manufacturing” technique. Instead of a unique, miraculous being, man becomes simple substitute whose essence is his own carcass. Nearby, the drawings only increase the sensation of irrepresible weariness. Headless anatomies, hesitating between Byzantine hieratic figures and fleshlessness due to physical and moral exhaustion, line up in a real ceremony of spectres. The line and hatchures, the emaciated portrait and the black invasion are the graphic base of a vehement denunciation of this world in a slow extinction. All that was considered, in a Renaissance perspective, to be the measure of creation and moral plenitude is seen by Titi Ceara as a desolate landscape and image of a rampant entropy. Losing himself, hopelessly crushed by history, man seems to have only one chance left: that of nourishing, through his own breakdown, the wakefulness and the sceptical lucidity of the artist's meditation.

>