The Tension of Contemplation
In the last decades, many samples, illustrative for the possible directions of evolution of the art, were proposed to the public in the name of modernity. Numberless workshop products, which reflect the capacity of creation, the condensation of the creative effort in comparison with a deep reflection of the objects of communication, are not as a rule in consonance with the image of innovation attributed by a large part of the criticism, namely by that art criticism which tends to project on the creation, as on a mirror, its own narcissism.
The invasion of novelties in the name of modernization filled up the art galleries and sometimes even the houses and the public institutions with useless things and their power of suggestion and evocation was delegated to the interpretations of the critics of the art galleries or of the eternal snobs of the everyday performance institutions. The one who write in this way is not, in fact, an enemy of modernity but of the abuses which are made in its name by invocation of the sacred principle of liberty of expression, which proposes, in its extreme manifestations the pneumatic void as essence, as archetype of the artistic process.
The rescue of art from the danger of dissolution can occur only by deepening the reflection on the aims of communication through image under the circumstances of the evolution of the present-day technology. The relation of the communication with the life makes possible any transaction of the artists, which are responsible for the programmed or non-programmed objectives of the dehumanization of the expression. In the recent history of the picture, for example, personalities who became famous thanks to their deep philosophy, hidden between two black ribbons which hang on a wall, were put on a honoured place and the examples could go on. Nobody tried, at least till now, to introduce in the history of the musical interpretations, as a masterpiece, the concert of a transmitter of disarticulated sounds. The fact that the strengthened objectives of the human communication didn’t change essentially but that only the technique of communication advances, is a matter of reflection for many artists who put honestly the problem of the artistic process without consider its resources absolute.
Doina Botez belongs to this class. In fact, she was schooled in a cultural and artistic milieu where the cult of the form remained still unadulterated by the cult of formalization. In other words, her art doesn’t issue from the refusal of the eloquent expression, but from the search of its adequateness to a content. This search could be understood by someone as a multitude of intense lived situations, which imperiously ask a certain graphic and colourful cloth. The painting of Doina Botez, in its early stage, was a temperate cry, an exclamation of pleasure of pain face to the everyday spectacle of life. I have a very good memory of her pictures of the end of’70s: it was a sad part of a sad city; but it was also a noble and smiling part of a dark country. A lightly menacing shadow floated even then on the not very large horizons of the artist’s pictures.
If we follow the canons of the stylistic classifications, we would define Doina Botez’ painting as one of expressionistic mark. It is without doubt that the artist was in harmony with the untouchable and unperceptive sounds of the Munch’s pictures. She reduced their tension by filtering them through the colourful series of Baba and Ciucurencu and succeeded in creating an original and full of vivacity combination. Her expressionism seems to be tempered by a tendency toward contemplation, which assigns to the artistic images the character of some coloured radiographs of some states of mind projected toward the exterior, the people and the landscape. An ineffable mist sometimes contributes to make dim the latent tensions suggested by the angularity of landscapes or human faces. The outlines become clear defined forms only when the sunlight is imperative, when the memory has precise marks, when the horizon clears up. This oscillation of Doina Botez between nebulous and clarity, between dynamic and frozen motion seems to me to be the testimony of a search, the aim of which is not the technical perfecting of the pictorial way of communication, but the identification of the psychological frame of communication and its materialization into an image with suggestive attributes.
Without doubt, we are between the marks of the high-grade artistic communication, of the communication impregnated with senses and humanity.