Anul Nasterii: 1962

Lucian Irimescu

Sculptor, grafician

Nascut in 2 iunie 1962 Craiova, Dolj, Romania.
Studii: Academia de Arte Nicolae Grigorescu, Bucuresti, Romania (1989).
A studiat cu: Traian Bradean, Ioan Octavian Penda.
Membru: Uniunea Artistilor Plastici din Romania
Lucrari in muzee:
Craiova – Romania (Muzeul de Arta)
Lucrari in colectii: Belgia, Danemarca, Franta, Germania …

Sursa: http://www.gallerya.ro/artist_gal.php?language=0&id=4745“Fuga dinspre sine pe un ac gravat”
Corneliu Antim,
Scriitor, grafician, sculptor, cronicar de artă, critic de artă și istoric de artă
(…) Lucian Irimescu face parte dintr-o generaţie remarcabilă de graficieni, pentru care reperele fundamentale ale genului înseamnă, deopotrivă stăpânirea instrumentelor şi a tehnicilor specifice de lucru (gravura renascentistă germană şi flamandă par a fi sursa cea mai frecventată), voluptatea formelor într-o exprimare plastică explicită, apetitul pentru mataforă şi alegorie, şi, peste toate, înclinaţia spre meditaţia filozofico-poetică încărcată de aluzii semnificative.
(…) …obstinaţia cu care introduce în ecuaţia plastică fauna arhetipală a personajelor şi făpturilor mitologice, de la “Ducipali” şi “Cai apocaliptici”, la tauri şi arlechini, şi de la ritualurile Răstignirii şi ale pomenirii morţilor la cele ale nunţii şi dansului nupţial. Un dens univers de simboluri palpită, aşadar, în gravurile acestui artist, care impresionează prin delicateţea cu care glosează, prin mijlocirea unui păienjeniş de linii şi pete de culoare, rafinat distribuite în suprafaţa hârtiei,… Un ethos care îi este pe potrivă, dar în cuprinsul căruia îşi află mai anevoie făgaşele discursului original. Cu toate acestea, Lucian Irimescu cutează cu forţa unei vibraţii sensibile şi de o acută modernitate în lucrări de consistenţa ideatică şi expresivă a “Răstignirii în cuvinte” sau a “Ferestrei”, dar şi în dramatica sinteză grafică din “Despărţire” şi, mai ales, din “Fuga dinspre sine”. Compoziţii în care căutările artistului se obiectivează în culminaţii metaforice de extracţie proprie întrutotul convingătoare.
(…) Ceea ce ne-a facilitat accesul sensibil la starea poetică elevată şi atât de răspicat rostită de artist prin gestul grafic, elegant şi auster totodată, pecetluit în placa de metal. Ca o prelungire a acestei tensiuni poematice, dar împrumutând mijloacele sculpturii (mai degrabă ale reliefurilor incizate ale unei ipotetice xilogravuri), Lucian Irimescu se abandonează jocului, contorsionând în concavitatea procustiană a unor albii din lemn trupul unui personaj feminin. Un ingenios tălmăcit, astfel, simbol manolin (ne place să credem) al zidirii Anei (lui Manole n. a.) la temelia unei opere ce va să crească.“Lucian Irimescu and the artistic temptation of the magmatic”
Lucian Irimescu proves one of the essential qualities of his art: that he seems to close a road ( of his own becoming ) when, in reality, opening yet another, he remains a privileged prisoner of the same search for the self in with a thirst that associates labor and lucidity as constant pivots.
His artistic act, regardless the way it comes, refers to a kind of archeology of the self: a continous “digging” in magma matter, in search of identity layers, in a continuous effort to discover (disclosure in the heideggerian aletheia sense) the ideas that lie in the folds of matter, and, in the same time, to bind them in conceptual cores translating the major intent of providing coherece to the cosmos. The strong advantage of this artist for whom nothing seems to be taken for granted, but everything, from the ordinary line, has to be captured and recaptured permanently, is, we believe, his exceptional technical talent. Hence, we probably have two emblematic consequences: the preference for graphics, which seems to be seen disguised in all the used techniques, and, especially, the care for compositional aspects (…)
In his painting, the air of a slightly defined resignation in which the diffuse and economical colour leaves in the foreground a stong sense of nostalgia. The thematic obsessions seem to be – on one hand – The Human Body – opportunity and pretext to hide the creative fantasy in privileged anatomical game, and on the other hand – The Horse, never in static view, but in a mobility which trains the entire environment. The human body is, obviously, in the purest metaphysical vision, micro-cosmos, from where the artist’s permanent temptation to give, at the compositional level, “extensions”, usually in raccourci; thus, he reaches a technique illustrated by a transparency that otherwise, we will find in all his diverse “adventures” (…)
Lucian Irimescu now uses a toolbox that could hardly fit in the generics of modern art: something in between matrix and engraving, putting to work pigment painting and even sculpture, since the impression of depth generates a strong sense of three-dimentionality. The artistic gesture seems total: Matter, that has never depleted its “natural” artistic attribute, a cosmos in the process of articulating, and the artist’s interventions, assuming their demiurgic dimension, do nothing but rebuild, from the patterns of their own fantasies, those imageries that long ago became tools that inhabit our daily circumstances. This last sample, final stage reached by Lucian irimescu, leads me to assign to him that anonymous, but no less unusual, spectacle offered to us by a volcanic lava, taking the forms of the purest organic in contortions with fire, water and air.
Georghe Gh. Popescu- writer, poet, epigram writer and publicistMY CREED
My works have an inner reason, a theme and a compositional “levelling”. There is a perpetual and systemic rolling of them… coming from instinct – at the beginning, then the composition enhances the subjectivity for the position of the “sign” and the visual symbol. At a certain finality of the work the image “betrays” the initial throught. The composition in the “epilogue” of the story.
I am looking for a theme that does not give me peace, that of a man who walks upside down, who meets different “worlds”. I am trying to understand its language! I believe in the installation, items in assemblage. That’s why I sell illusions:
“I sell a piano white/black/coloured…..I imagine a piano wrapped with several straps, by rope stretched all around, with locked Keyboards….silent…a piano thrown from above, above, from a wall…
In the slow and delayed falling to the ground, the piano floats like a feather, being late in its fall…
I am watching it, silent, motionless my eyes undergoing its way to earth, but it, the piano, is stubborn and descends to the lowest speed… and now it seems it is climbing… I get into despair.
Hey! Doesn’t it fall?… I must help it somehow to succed… at least my mind will put it down… Another two-miliseconds have passed and a whispered song announces the impact of the poor piano with earth. Piece by piece, woods, metals, strings, keyboards are rolling in a carousel of images and shapes that make up a slow, gentle melody, a late melody of a piano that sounds in the eardrum…
I forgot to tell you I was a variety of a too colourful fish…”
Generally, there are stories that belong to a mask. Chameleonic guise of man, not necessarily the one who performs, but one who outfits with brocard, gold leaf, diamonds. Behind these precious layers, the animal is lurking… Meaning the Man with his common instincts, his sensuality, desire, power, money or his loneliness. An exciting dialogue between purists and progressives! Many of my works have their source in the couple and love field. I settled the history so: 90% sits in pagan and biblical stories, 10% in wars for a woman… So much blood has been spilled in the name of invasion and territorial expansion, but many joyful or tragical stories started from the love for a woman. Love counterbalances with the history of religion.
These are simple themes which I diversify. I spin around topics accompanied by a puzzle of arguments and mistakes “beautifully” garnished at the history’s umbrella…
Lucian Irimescu