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Veron Urdarianu (1951, Romania) is a master of suggestion. He often uses existing images which he gives a new context. Simple motifs such as mating dogs, a fallen jockey or a Napoleonic soldier become full of insinuated meanings. His use of perspective and faint colour gradations pull the depiction out of the here and now, as if they have ‘fallen out of time’. The melancholic atmosphere that Urdarianu's paintings sometimes exude finds a counterbalance in a touch of humour and his sense of the incongruous. He proceeds with caution, seeking the subtlety of muted tones so as not to disturb the mystery of his stories.
'While making my architectural, you could say almost idealistic models of cottages, which one can extend and open, I was looking for the imaginary view from these little buildings. This is how my paintings with landscape and houses, boats and interiors, where one suspects a certain history, where the finer and lesser things meet and where, because of the way they are painted, one does not know exactly what is happening or has happened, came into being. That's how I found out that I could bring about a transformation with a simple house. [Exhibition Huis van de Geest, Gemeentemuseum Den Haag, catalogue Veron Urdarianu]
The interesting thing is that a relationship has indirectly emerged between the quickly carpentered, as it were wood-drawn, changeable cottages, and the ‘fallen out of time’ paintings, which depict a kind of contemplative situation with a look back at my personal history. I was born in Romania under a strict communist regime. A number of paintings are set in such a way that they tell the state of Communist Romania: dilapidated, ruined. Layer upon layer of painted works in the colours of chipped paint.
Different themes have emerged in my work such as references to Communism; stillness and solitude; illusions and dream images; references to history; references to my existence as an artist; constructions and Houses for the Spirit; transformations [catalogue, Transformations].
More and more in recent years, I have been focusing on bringing the different disciplines together: using a painting in an image and adding three-dimensional elements to a painting'.
'While making my architectural, you could say almost idealistic models of cottages, which one can extend and open, I was looking for the imaginary view from these little buildings. This is how my paintings with landscape and houses, boats and interiors, where one suspects a certain history, where the finer and lesser things meet and where, because of the way they are painted, one does not know exactly what is happening or has happened, came into being. That's how I found out that I could bring about a transformation with a simple house. [Exhibition Huis van de Geest, Gemeentemuseum Den Haag, catalogue Veron Urdarianu]
The interesting thing is that a relationship has indirectly emerged between the quickly carpentered, as it were wood-drawn, changeable cottages, and the ‘fallen out of time’ paintings, which depict a kind of contemplative situation with a look back at my personal history. I was born in Romania under a strict communist regime. A number of paintings are set in such a way that they tell the state of Communist Romania: dilapidated, ruined. Layer upon layer of painted works in the colours of chipped paint.
Different themes have emerged in my work such as references to Communism; stillness and solitude; illusions and dream images; references to history; references to my existence as an artist; constructions and Houses for the Spirit; transformations [catalogue, Transformations].
More and more in recent years, I have been focusing on bringing the different disciplines together: using a painting in an image and adding three-dimensional elements to a painting'.
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