The dispersion of body signs or the formation of sign’s body

 

This selection, under the general frame of Wanderings of the Body, of Radu Pulbere, represents works that, during the last two years, developed one from another as passing circles of an entire creative chain. This creative chain of works has, of course, its immanent agenda, which, at its turn, is collated on the intentional existential schedule of the artist. In the centre of such a personal program there is always the question of identity: how to build your own message in order to become visible in the postmodernist chaos.  More than existential assuming, the identity thus becomes, even here, a procedure or a technique that favours, over talent, the coherent and lucid intellectual exploration of the visual possibilities, via rebounds, re-discoveries and convergences. It implies distancing, doubt and rather a masochistic joy for difficulty than an auctorial egotistic possessiveness.

 

For such an approach of the visual, the theme cannot be other than that of the interrogation of the visual representation means, of the exploration of the personal visual artistic perception in a space-time continuum. So, what is proposed and presented here are the wheels and axis of the world’s pictorial representation machine, of the pictorial signs birth and production methods. In order to somehow invoke them, Radu Pulbere calls them bodies, which means that for him, these bodies of the visual representation are animated by meanings. And us, as watchers, we feel these bodies in a very wide meaning, more than physical, in the significant ontology frame. Vegetation (Memory Fragments, More than seen, Flowers), landscapes (The remote point of this perspective, A convergence of the appearances, Une longueure monotone), the aquatic environment of the swimmers – perhaps because water is the protein environment by excellence of baptisms and ablutions - (Swimmer 1 and 2, All external souls), interiors (Instructions for loneliness 1,2 and 3), characters (Not so far away, Ioana, Rapacious Limbo), are all bodies of the visual representation. They are figures that do not belong stricto sensu to the painting, as the painting is not in the strict possession of the artist, for the figures, bodies in their quality of visual signs, rather belong to a general repertoire/vocabulary of the visuality. And even the titles are subsequent to the operation with visual signs: no access keys, but a personal finalisation of the possible launched by the painting’s signs.

 

Subsequently, what we see here is the way in which the pictorial signs are built from infra-signs, the manner in which the

optical stimulus or signal becomes visual sign. There are pictorial worlds anterior to the sign and the process throughout which the visual signs are created before some established stylistic codes. It is what precedes the sign: the matter before the form, the non-form, the latencies, the blanks. The sign is born and lost in its non-formed possibilities, in its recognisable deformations. Without history, only alternatives, coagulations, hesitating between awareness and renunciation, but matter creation in the sense of the aristotelian entelechy. Gesture, accident, colour, sign-prior layers, each with its possibilities intersected in an even more random possibility. From pre-sign to sign, from non- figurative to figurative, from gesture/action to the distinct mapping of contours. From fragments and even less than fragments, fragmentary stains of gesture-colour, to fragments as high as a well-known typology of a form. It is rather the direction of the movement, than the punctual stations of some definitively finished paintings. An attachment- free waiting, without constraints of the coagulation of some visual signs meanings.

 

This is not planned production: it is rather aesthetics of an accidental discovery, for it is a mise en scene of the possibility. How far and in which direction may things be thus carried?! Not in the sense of an opera aperta, but of the limits of visual sign possible production, in the direction of the painting’s virtual! From the Différance of the visual significant, to the differentiation of the pictorial form, aggregations may appear that others – with the same visual signs vocabulary – did not consider. Whereas for Radu Pulbere it does not seem to exist yet the standard vocabulary of the visual signs writing, which marks the presence of the formal history, the author proposes a manner of visiting the possible history of the personal perspective signs, to invoke the personal pre-history of the pictorial sign. This, via the visual subjectivity of the painter, releases what the spectator’s subjectivity kept closed. It seems like hearing a language of known resonances, but which refuses to take the shape of the recognized words … What Wanderings of the Body propose us is to let us flow with the visual language, a language that, by speaking, discovers what is wants to say, as the idea may arise when starting to speak!

 

Aurel Codoban

© Radu Pulbere, 2018