A Short Incursion Into The Bronze Age
A sculptress is a rarety. Just as wars- terrifying mutations of humanity- have been the exclusive “master-pieces” of men, dislocation of matter ( wood or stone) has been an atribute of males. Which other art form requires more phisical strength than sculpture? None. This is precisely why scuptors enjoy a winning status a priori among other artists. However, their true conquest, their true battle is with space. The one who knows how to significantly inhabit space with stone, bronze, wood, clay, glass etc- materials she has shaped into a vessel for dreams and visions- then that artist is a sculptor.
Slavenca Petre is a sculptor, and so, a rarety. Her strength does not reside in the force applied by hammer and chisel, nor in the size of the chunks discarded for the impact of metal, for she decided to work in bronze- a fluid matter, the shape of which rises from her own hands. Slavenca Petre’s strength is found in the intensity of light that pours out of her bronzes. And this is not a reference to the optic effects of the chiseled surfaces but to the outburst of the sculptures beyond their skin of air that is around them. The sculptures emerge forward, overtaking their phisicallity and feed on the air that surrounds them. The dichotomy between material and imaterial vanishes, the bronze seems to disslocate the air, but not in order to ‘measure’ it (this may be said for monumental art), but because it’s beauty is expansive.
If Degas belived that sculpting is for the blind, then Slavenca Petre’s fingertips must have eyes. The variety of shapes the artist renders in her work, subscribes to poetry and the nature of the revelatory. Each piece has inside it a spirit that gives it substantiallity as well as an identity that transcends its formal intent.
Smooth or rough, with shadows interfering with the golden light, fragile or severe, with filiform grace or kineticism due to ‘tears’, the works of art in this album are the signs of a winning sculptor: Slavenca Petre.