George Vasilescu
press release
16. August - 19. Oktober 2013
The artistic work of the Romanian George Mihai Vasilescu (* 1984) is the realization of an unrealized dream, the one of his mother who is hardly known to the artist himself. While growing up most of the time separated from his family at his aunt's, he took up a long road and considerable difficulties in fulfilling this dream. Today he signs some of his works with her nickname "canuta" (Romany for "small cup"). Soon after his first own exhibition in his hometown of Ploiesti in 2008, he started to search for the roots of his people. In Bangladesh, where his next exhibition took place, he discovered much that is familiar both in the way Indian people interact with each other, as well as in the local culture.

Vasilescu explores in his work human relations and the human condition. His works are mostly a call for affection and security, while they depict the opposite. His symbolism creates a sometimes enigmatic and dense parallel world. His characters remind to mythological creatures and they could be part of the fantastic world of a Stanislaw Lem. His sculptures are frozen in silence, appear as strange anthropomorphic creatures. Instead of heads they wear gold, filigree appearing head cages. The figures are Vasilescus own, fantastic realism to represent coldness and loneliness.

Vasilescu covers the porcelain plate with oil pain. On each of which we find a  curved and pale fetus. The works are the prologue to the cage sculptures. The plate appear as nest and at the same time the painter's palette, the point from which everything takes its output. Painting stands for nest feeling, home protection, but also for solitude and nakedness.

The idea and the first sketches to THE GOLDEN CAGE OF THOUGHTS  series emerged in the summer of 2011, when Vasilescu helped in Norway to renovate a lighthouse. Maybe that's why the sculptures appear as monadic essence of a lighthouse shape. In January / February 2013, he converted his ideas and "materialized the Incubated" (Vasilescu).
The sculptures are painted with acrylic paints and madeof wire and plaster. Sometimes the wire is visible as underlying as if it is the neural pathway of the figures and remind how fragile the objects are.
The first of the works is THE FATHER (2013), the last KISS II (2013) - visitors may see at the figures, a formal aesthetic development. It seems that the artist would hold an involuntary metamorphosis, in which first the head grows higher and higher, taking the form of a golden filigree cage, until finally the whole body grows to a large anthropomorphic, organic cage.
Vasilescus creatures are trapped in their ideas, which paralyze and prevent them from unrestrained, life-friendly interaction. But even in "captivity" forms of love and closeness seem possible: the prisoners grow together, whether this is voluntary, a comforting adhesions, or involuntary, painful, is left to the viewer. The metamorphosis progresses linearly, and finally the pursuit of more floral shapes remind on vines or flowers and less on cold metal. The drama can be comprehended also following the titles of the sculptures - THE FATHER, THE CAGE, SOLITUDE, THE JAILOR, THE SILENCE, THE GUARDIAN, THE DANCE, THE COUPLE, FAITH, KISS II, BIRTH, AND FREEDOM ...., UNCHAINED (all 2013). When finally UNCHAINED the bars are spread apart and relaxed. The man has torn apart his cage - which was perhaps only a perverted cocoon - he leaves and is free. He has unleashed himself by transforming the cage in a flower bud.

DATE 17th of August until Oktober 4th 2013  OPENING Friday, the 16th of August 2013 . 17 - 9pm
OPENING TIMES Tuesday to Saturday . 12 – 7 pm

Gallery Kai Dikhas . Aufbau Haus at Moritzplatz . Prinzenstr. 85 D 
10969 Berlin-Kreuzberg
Tel 0049 . (0)30 . 343 99 309 . Fax 0049 . (0)30. 346 636 43 . .

Press contact

Sophie Nikolitsch