04.referinte critice

Obrazniciile imaginatiei

Daca n-ar iubi atit traditia, poate ca Ioan Marchis ar fi victima ei. In acest paradox e multa luciditate si, mai cu seama, nevoia artistica a sculptorului de a se ridica deasupra materialului cu care lucreaza, deasupra simbolurilor preexistente in cultura. Seriozitatea lui Ioan Marchis, care merge pina la nevoia paroxistica de a pecetlui vechile forme prin subtile adaosuri sculpturale, arata in artist o structura iritata de propriile-i veneratii. El ascunde rar tehnica, mai degraba o exhiba, fiindca intre materia pe care se exercita si fiinta sa e o complicitate bizara, o forma de pretuire exigenta. Ioan Marchis ocroteste continutul realului, substanta lui prin parafe, prin sigilii artistice, care au si darul de a legitima fondul ritualic al traditiei, dar si de a-l supune, de a si-l apropia. O astfel de pecete, aplicata pe o bucata de lemn, din care se revarsa o cascada de funii, poate fi un bun exemplu de domesticire a materiei prin interventii metamorfotice. Ioan Marchis nu modifica forma obiectelor pe care se aplica, ci functia lor. E vorba, mai degraba, de schimbarea identitatii lor artistice. O sectiune dintr-un copac devine, prin aplicarea unei balamale de metal, o forma deschisa, o categorie. Sculptura lui Ioan Marchis are aceasta putere teribila de a transforma irationalul materiei in forme perceptibile la modul intelectual, in categorii estetice. Sculptorul excita imaginatia mentala a privitorului prin constringeri succesive ale naturalului, asa incit mesajul alegoric se pulverizeaza, se resoarbe in analogii aproape suprarealiste.
In sens manierist, Ioan Marchis forteaza materia sa abdice de la identitatea ei naturala, sa-si schimbe continutul, sa se artificializeze. Prin interventiile sale, sculptorul aplica o masca obiectelor, instrainindu-le de ele insele si transformindu-le in altceva, in mici confectii mecanomorfe. Sculpturile lui Ioan Marchis sint, deopotriva, obiecte ritualice si constructii preelaborate, avind si ceva din functia magica a celor dintii, dar si din imobilitatea misterioasa a acelui ready made al suprarealistilor. Interventia artistului asupra obiectelor arhaice, muzeistice este intotdeauna delicata, aproape gratioasa, pentru a nu alunga duhul materiei, misterul ei ascuns. Imbinind elementele dure, masculine cu acelea moi, senzuale, feminine, asociind materiale plastice adesea incompatibile intre el, Ioan Marchis antropomorfizeaza, de fapt, obiecte vechi si inerte, bucati de materie fara suflu. Un nud, aproximat simbolic din lemn colorat, pare mai degraba o feminitate abstracta, un arhetip. In fond, in aceasta stau intreaga originalitate si forta de seductie ale sculptorului Ioan Marchis: in puterea de a ridica detaliul natural la simbol cultural, de a inalta materia la idee, accidentalul la categorial. Contururile preexistente care se ghicesc in sculpturile lui Ioan Marchis sint o forma de conservare a memoriei artistice.
si mai aplecat catre amprentele stilistice ale traditiei pare artistul in ciclul Pecetarele trupului, o variatiune de statuete prin care Ioan Marchis sigileaza, parafeaza, limiteaza si inchide virtualitatile lutului, ale materiei, obligindu-le sa explodeze intr-o pletora de geometrii candide. Insa dincolo de morfologia aceasta fastuoasa, care vine din matricea arhaica a obiectelor pe care si le asuma, sculpturile lui Ioan Marchis – admirabile obraznicii ale imaginatiei – sint supravegheate cultural de o inteligenta intransigenta si febrila care accepta sa se supuna traditiei atit cit s-o poata stapini. Intre artist si creatia sa pare a se ascunde o tensiune erotica: o iubeste dominind-o.
Radu G. Teposu

THE IMPRUDENCE OF IMAGINATION

If Ioan Marchis did not love tradition so much, he might be its victim. There is much lucidity in this pa­radox and there is, mainly, the urge of this sculptor to rise above the material he is working with, above the already existent symbols in culture. His seriousness that goes up to the paroxistic need of sealing old forms with subtle sculptural additions, points to the artist’s structure/character irritated by his own reverence. He rarely conceals his technique, on the contrary, he exhibits it, because there is a bizzare complicity, a form of exacting valuing between his soul and the matter he transforms. Ioan Marchis protects the content of the real, its very substance in artistic seals, paraphs, that have the power to legitimate the ritualistic inner meaning of tradition but also of subjecting it. Such a seal, apllied on a piece of wood, out of which a multitude of ropes come down as a waterfall, can be a good example of taming the matte/substance by metamorphotic intervention. Ioan Marchis does not change the form of the objects he works in, but their function. It is rather a change of their artistic identity. A cross-section through a tree becomes, by means of applying a metal hinge, an open form, a category. Ioan Marchis’ sculpture has this terrible power of changing the irrationality of the matter in intellectually perceptibible forms, in aesthetic categories. The sculptor roused stirs up the onlooker’s mental imagination by successive compulsions of the natural, so that the allegorical message is pulverized, is resorbed in almost surreal analogies.
Ioan Marchis compels the matter to abdicate its natural identity, to change its content, to become artificial. The sculptor seems to apply a masque to the objects, alienating them from themselves and changing them into something else, in small, mecanomorphic creations.
Ioan Marchis’ sculpture are both ritualistic objects and pre-elaborate constructions which preserve something of the magic function of the former, but also the mysterious immobility of that ready-made of the sur­realists. The artist’s intervention in archaic objects is delicate, graceful almost, in order not to drive away the spirit of the matter, its hidden mystery. Combining rough, masculine elements with feminine, soft, sensual ones, often associating materials incompatible with another, Ioan Marchis, in fact anthropomorphizes old, inert objects, pieces of matter without soul. A symbo­lic nude in coloured wood seems more like an abstract feminity, an archetype. On the whole, the sculptor’s originality and power of seduction lie in his ability to raise the natural detail to the level of cultural symbol, to raise the matter to the level of idea, the accidental to class category. The pre-existent outlines which can be guessed in Ioan Marchis sculpture, are ways to preserving the artistic memory. Even more bent on the stylistic prints of trdition in the cycle “The Seals of the Body”, the artist uses the potentialities of clay, of the matter, compelling them to explode in a plethora of candid geometries (geometrical forms). Beyond this magnificent morphology, Ioan Marchis’s sculpture – splendid (matches) pieces of imprudence of the imagination – are culturally dominated by a relentless and feverish intelligence witch accepts to obey the tradition only in order to master it. An almost erotic tension seems to exist between the artist and his creation: he loves it by mastering it.
Radu G. Teposu

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