Artist Catalin Domniteanu creates complex, sculptural works in glass that invite a closer look. Learn more about his work by visiting his website.
When a pandemic disturbs our lives with such severity—perhaps a reminder of our fragility—the artist looks back at his creation and thinks, “Have I said it all, have I said it best?” Next, the artist looks inside, “Was I honest?”
As part of my creative process, I find it particularly useful to examine what I would do artistically if my existence was placed 100 years earlier, or 1000 km elsewhere. If I had a reduced acuity of smell, another skin complexion, or longer fingers, would my works be different? How much different? What if I had a wise, caring friend who had passed away because of a recklessly spread virus? It would probably be different, because it would’ve been another me, having that other experience differently.
If that argument is true, I wonder to what degree I use my own discretion in the choices I make. My instincts tell me that it’s full discretion, so I hold this clandestine artistic caprice of mine to one day doing a piece of artwork that has not emerged from ideas orbiting my existence. And while that is not possible, it makes me resist the impulse of getting on board with what’s trending. Instead, I seek my own subjects as though free will exists.
The “times” shape the artist, who does the art, which shapes the “times”, which shape the artist, who does the art.
In terms of execution, my sculptural work takes advantage of stained-glass technique and materials while expanding its expressivity in front and behind the piece’s distinctive contours. Volumetric glass objects transport and distribute the light into the void above the frame.
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All works have their own wooden stands to allow viewing from all sides, but they can also be hung on walls as murals or ceiling installations. Depending on the size and complexity of the project, I directly participate in the delivery and installation of the work for my Canadian clients.
My concepts are drafted first with a set of primary elements—simplifications of different parts of reality. I handle these primitives in groups, layers and ties and distribute them into rather sophisticated assemblies.
Then I increase their complexity until it feels right—where the “feel right” is that long, incomplete list of under-defined parameters that nobody knows how to frame. In this way, I hope to achieve the most comprehensive story I can in that one piece.
So, each piece bears a story which I always enhance with detailed writings, like a libretto. I invite everyone to read them on my website, and please send me a note if you’d like to. I am also open to artistic collaborations. Please feel free to say “hello!” and start the conversation.
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