Mircea
ROMAN

 
Mircea Roman
b. 1958, lives and works in Bucharest, Romania

1980 -1984, BA Sculpture, the Fine Art Institute “Ion Andreescu”, Cluj, Romania

Awards
Moldova Artists Union Gold Medal, 2008
Romania Artists Union Jury Award, 2006
Delfina Studio, London, 1993 - 1994
Grand Prize, Osaka Sculpture Triennale, 1992
Atelier 35 Prize,1988

Solo exhibitions
2012, Storage, Bacau
2009 - 2013, “Carturesti” Bookshop, Bucharest
2011, „Trupuri, chipuri-Bodies, faces„ AnnArt Gallery, Bucharest
2011, Recycle Nest Gallery, Bucharest
2008, Dezorient Express, Bistrita
2008, 50±1, Anticariat Gallery, Bucharest
2007, Almelo, Netherlands
2006, Dezorient Express, the Romanian Peasant Museum, Bucharest
2006, Even, Mogosoaia Palace
2006, Even, Anticariat Gallery, Bucharest
2005,Triade Gallery, Timisoara
2005, Visual Arts Museum, Galati
2002, Meunier Chocolate Factory, London
2000, Riverside Studios, London
1998, Centre Point Gallery ACAVA, London
1996, The National Theatre, Bucharest
1988, Orizont Gallery - underground, Bucharest

Group exhibitions (selection
2011, ICR London
2010, Art Museum, Cluj
2009, Arad Bienale
2009, Mitologii Subiective, Rocca Paulina, Perugia
2008, 8+1, Visual Arts Museum, Galati
2008, 4+1, Mogosoaia Palace
2007, Arad Biennale
2005, The Portrait, Mogosoaia Palace
2004, Renaissance Museum, Kobe
2003, Leave to Remain, Riverside Studios, London
2001, Oska Triennale
1999, Fin de Siecle, Riverside Studios, London
1998, Osaka Sculpture Triennale
1998, Romanian Contemporary Art, Budapest
1997, 3+1, Beaux Art Gallery, London
1997, Leipzig Book Fair
1996, Fracture fermee, French Institute, Bucharest
1996, Osaka Painting Triennale
1996, Sevillia Art Fair
1995, Osaka Sculpture Triennale
1995, Deventer, Holland
1995, Venice Biennale
1994, Klaus Braun Gallery, Stuttgart
1994, Osaka Print Triennale
1993, Byzantine from Byzantime, Venice
1993, Osaka Painting Triennale
1992, Osaka Sculpture Triennale
1991,State Untiteled, Timisoara
1991,Teracotta, Simeza Gallery, Bucharest
1991,The Surface Posibilities, Simeza Gallery, Bucharest
1990, Auriga, Orizont Gallery, Bucharest
1990, 9+1 and Their Guests, Dalles Gallery, Bucharest
1990, Small Sculpture Biennale
1989, Sketch-Object in Sculpture, Bucharest
1988, 6 Painters 6 Sculptures, Casa Schiller, Bucharest
1988, Atelier 35, Baia Mare
1988, Life model in Studio, Bucharest
1987, Portrait, Caminul Artei Gallery, Bucharest
1986, Painting and Sculpture Biennale, Bucharest

Works in public collections
Contemporary Art and Culture Centre, Osaka
Museum of Contemporary Art, Bucharest
The National Art Museum, Bucharest
Contemporary National Art Museum, Bucharest
Visual Arts Museum, Galati
National Art Museum, Chisinau
County Art Museum, Bistrita

Public Commissions
2010, Crucifixion, Vadu Izei, Romania
2002, The Cup of Ovidiu, Constanta, Romania
2000, Man Vessel, River sculpture, Hammersmith, London
1999, War Memorial, Sag - Timisoara, Romania

e-mail: doruroman@yahoo.com

“Mircea Roman este unul dintre putinii care au câstigat Marele premiu pentru sculptura al Trienalei de sculptura de la Osaka, Japonia, cel mai mare premiu de acest fel din lume. În Anglia, unde locuieste din 1992 când a câstigat prestigiosul premiu Delfina, este probabil cunoscut cel mai bine pentru lucrarea Omul-Barca - o figura monumentala ce pare a se lupta pentru a se elibera, lucrare fixata pe un ponton pe Tamisa, astfel încât se îneaca si revine în fiecare zi odata cu fluxul si refluzul. (...)Noua sa lucrare este gândita astfel încât sa se încadreze în spatiul înconjurator. Astfel, sunt 12 lucrari pe ambele parti ale unui coridor de 3 metri înaltime si 18 metri lungime. Coridorul ar putea fi un pasaj îngust între cladiri, dar neavând un asemenea loc Roman a construit pentru aceasta expozitie un spatiu de otel. În aproape toate cazurile figura umana este îndoita peste o bara invizibila, continuând sentimentul de frustrare. Conceptia este evolutiva - fiecare piesa creste din cea anterioara - si acest lucru este scos în evidenta de desfasurarea lineara a instalatiei. Fiecare piesa exista în sine, dar când toate douasprezece interactioneaza impactul se schimba, devine mai complex.
Desi multe dintre lucrari au partea de sus în forma de tunel - cu gurile închise sau deschise - si nici una nu are brate, nu este nici o îndoiala ca sunt siluete umane, oricât de abstracte. În opera lui Roman abstractul reprezinta elementul spiritual, iar figurativul partea fizica a corpului. Nu conteaza ce forma ia abstractia, ramâne spiritul lucrarii, ideea. La fel de emotionanta este utilizarea rosului, sub forma cleiului rosu P V C sau, mai dramatic, ca vopsea, în lucrarea Inima mare si Rochia rosie. Nu exista sculptura fara rosu, spune Roman. Rosul înseamna pasiune.
Roman foloseste diferite tipuri de lemn pentru sculpturile sale: refolosibil - de exemplu navete de vin - dar si nou. Îi place îndeosebi lemnul malaiezian jelutong, lemn usor si colorat, ca balsa, pe care îl cumpara în cantitate mare. Pentru detalii foloseste uneori stejar si mahon. Tinde sa foloseasca lemn reciclat pentru interior si pentru partile nevazute ale lucrarilor, la fel ca si suruburile, dar pentru exterior prefera penele de lemn. Folosirea lemnului îl pune pe Roman alaturi de cei mai cunoscuti sculptori români pentru publicul britanic - Brâncusi si prietenul lui Roman, raposatul Paul Neagu .(...) Simplitatea, demnitatea si un sentiment al atemporalitatii ramân semnele distinctive ale artei sale, asociate cu o constientizare moderna, armonizata psihologic, a comediei si tragediei conditiei umane.”

John McEWEN

“The leader of 80s generation on the current Romanian art scene is a sculptor, Mircea Roman. In fact, paradoxically, although the sculpture gained notoriety in Romania much later, the first important and larger generation coming into being at late nineteenth century, the Romanian sculptors from the last century (Constantin Brancusi, Dimitrie Paciurea, George Apostu, Paul Neagu, Ovidiu Maitec, Doru Covrig, etc.) have surpassed their fellow painters, both in terms of value and of international notoriety. All the mentioned artists, and we may add without hesitation Mircea Roman, would deserve to enter the consciousness of the art community as artists of universal value, but unfortunately, for reasons related to the operation of the global art market, this chance is offered only to Constantin Brancusi, a landmark of the Romanian genius.
Mircea Roman is a very lucid and thoughtful artist, empathetic and involved, an artist of the inner lacerations, aware of the critical sitution of contemporary art and society. Mastering with authority a language of essences, expressive, dramatic, concise and well accompanied, he manages to transform each artwork of wood, metal and color, into a true reminder of his time, a perpetual portrait / self-portrait of chimeras that haunts the soul and spirit of actual human being. He is an Expressionist artist, very interested by the binary structure of the human being, corpus and anima, especially by the fusion between them-the winged body, the body with the memory of Paradise. ”I made sculpture with body and soul. Soul must differ from the body” wrote in one of his statements. The soul soaked by memory, thought, reverie and faith is a real challenge for his art. That’s why he tries to describe and reveal the soul, to capture its inner movements with the help of a transfigured, hieratic and expressive body and face. His fantastic metamorphoses of the body transformed into temples or even sewers, the face replaced by a hollow or a window facing the unknown, his ”characters on the wall”, selfportraits, walking pyramids and the huge installation ”Dezorient Express”, sometimes painted red, are dramatic and expressive, of a restrained tragism, oriented towards the inside and timelessness. Roman is a master of modular sculpture, of serialism and most of his artworks imagine a symphony game between whole and part, with unexpected changes of motifs and volumetric proportions.”

Constantin Severin