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De la p@m$nt la cer. Cluj-Napoca. eseu vizual. Lucrarea se axeaz@ pe cele dou@ sensuri ale conceptului de ora}: cel de ansamblu arhitectural }i cel de totalitate a locuitorilor s@i. Sunt dou@ componente care coexist@ }i care se influen]eaz@ reciproc. Expunerea vizual@ se face evolutiv, ^n desf@}urare, dup@ o regul@ riguroas@ }i clar@ ^n idee, dar volatil@, fractal@ }i exploziv@ ^n reprezentare. Succesivitatea imaginilor este determinat@ de mai multe criterii. Se porne}te de la subsol, din ora}ul subteran. Vizunea se continu@ cu nivelul solului, al u}ilor, ferestrelor, apoi acoperi}urilor }i cerului. Se urm@re}te o traiectorie, se c@l@tore}te ^n plan vertical prin ora}. Este un vector aspira]ional, o tendin]@ firesc@, o devenire natural@, care este ^n mod genetic ^n firea omului. Deasemenea, se porne}te de la ruine, de la r@d@cini, }i se ajunge la sticl@ }i metal, ^n@l]ate tot mai sus. Este o trecere de la vechi }i trecut, la nou, modern, viitor, de la moarte, ^ncremenire, degradare, la via]@, dinamism, eternitate. Jos e trecutul, sus e viitorul, iar la mijloc este situat prezentul. Acesta este punctul magic din care se poate privi cu egalitate }i ^napoi, }i ^nainte. O alt@ desf@}urare evolutiv@ este aceea care ]ine de materie }i de structura sa. P@m$ntul este profund texturat, cu vibra]ii formale accentuate. Cerul este plin, lin, f@r@ accidente de detaliu. De la nisip }i pietri} se ajunge la cer }i nori. De la detaliu se ajunge la ansamblu, de la particular la general. Traiectoria formal@ ^ncepe cu neregularitate, accident, organic, }i ajunge la rigurozitate, re]ea, anorganic. Desf@}urarea eseului are }i un scenariu de factur@ cromatic@. Negru, gri, brun, ocru, portocaliu, ro}u, verde, albastru. Privirea porne}te de la p@m$nt, de sub p@m$nt, unde este ^nchis@, obturat@, ^nc@tu}at@, }i se ridic@, trece prin spectrul amintit }i se opre}te sus, la albastru cerebral al cerului. G$ndul, mintea, imagina]ia ^}i ia zborul, se dezvolt@, cre}te. De la negrul imobil }i static se ajunge la albastrul dinamic }i infinit. Am marcat astfel limitele ^ntre care se desf@}oar@ ac]iunea eseului. La mijloc explodeaz@ concertul, pornit de undeva de jos }i al c@rui ecou se pierde undeva ^n sus. Spectacolul este ^n desf@}urare. Por]i, ziduri, oameni, ma}ini, col]uri, semne, culori, mi}care, noduri, capace, clan]e, ornamente, texte,... La mijloc este omul, via]a, colorat@ ^n nuan]e calde. Fotografiile sunt luate de la nivelul omului care str@bate ora}ul, ^ns@ nu gr@bit sau absent. Se uit@ atent }i dornic de a descoperi, de a vedea cu al]i ochi aspecte care p$n@ acuma nu i-au spus nimic. Fiec@rei imagini luate din realitate ^i corespunde un simbol, materializat ^ntr-un p@trat pixelat con}tient, manual. Acesta deriv@ din imaginea respectiv@ }i o esen]ializeaz@. Este un fragment de informa]ie din codul genetic al ora}ului. %nl@n]uirea acestor simboluri purt@toare de informa]ie vor alc@tui codul genetic, esen]a, specificul ora}ului. Imaginea fotografic@ este redus@ la simbolul simplu }i totodat@ puternic vizual, iar din aceast@ s@m$n]@ se poate genera imaginea foto. Simbolul esen]ializeaz@ formal }i cromatic imaginea sau imaginea este esen]ializat@ cromatic }i formal de c@tre simbol. Aceste dou@ elemente sunt poten]ate de o explica]ie dubl@: un cuv$nt }i o imagine alb-negru. Cuv$ntul red@ conceptul iar imaginea ^l explic@, ^l pune ^n valoare. Cuv$ntul d@ imaginii fotografice ^n]elesuri multiple, fiecare percep$nd ideea ^n func]ie de structura }i forma]ia sa psihic@ }i cultural@. Lucrarea este un eseu vizual, o alternativ@ la monografiile despre Cluj existente. Se dore}te crearea unei atmosfere, a unei senza]ii, a unei impresii. Se aduc ^n prim plan imagini simple, ^nc@rcate de mesaje. Fiecare spune ceva. Sunt cadre accesibile oricui. From Earth to Sky. Cluj-Napoca. visual essay. The work is based on the two meanings of the word “town”: one means “the architectural assemble” and the other “the totality of the people that live in that town”. There are two components that coexist and influence each other. The visual exposure is made step by step, by a rigorous and clear rule, which is also volatile, fractal and explosive. The successively of the images is determined by several criterions. It starts from the underground, from the subterranean town. The vision continues to the ground level, to the level of the doors, of the windows, of the roofs and than reaches to the sky. A trajectory is followed, a vertical trajectory through the city. It is about an inspirational vector, a natural tendency, which is genetically in the human being. Also, it starts from the ruins, from the roots and it gets to the glass, to the metal, which are put higher and higher. It is a passing from old to new, to the modern, to the future, from the death, from the degradation to life, dynamism, eternity. Down there lies the past, up there is the future and in the middle there is the present. That is the magic point where from you can look, equally, forward and backward. Another evolving development is the one concerning the matter and its structure. The earth is profoundly textured with accentuated formal vibrations. The sky is full, peaceful, without detail accidents. From sand and stones you can reach to the sky and the clouds. From detail you can get to whole, from particular to general. The formal trajectory starts with irregularities, accidents, organics and gets to the rigourosity, to the net, to the inorganic. The essay development also has a chromatic screenplay. Black, gray, brown, orange, red, green and blue. The sight starts from the earth, from the underground, where it is locked, fettered, and it rises, it passes through the spectrum and it stops up there, at the cerebral blue of the sky. The thought, the mind, the imagination flies, develops, grows. From the static and immobile black, it gets to the dynamic and infinite blue. So, we've marked the limits within the essay action takes place. In the middle it is explored the concert that started from down somewhere, and who's echoes fades, up somewhere. The show develops. Gates, walls, people, cars, corners, signs, colors, moving, knots, lids, door handles, ornaments, texts…. In the center there is the man, the life, colored in warm shades. The photos are taken from the level of the person that passes through the town, but not an absent or hurried person. The person looks around attentively and willingly of knowing, of seeing from different corners some aspects that didn't mean a thing for him until then. To every image corresponds a symbol, materialized in a manual pixel square. This square derives from the image and gives it a meaning. It is a fragment from the genetic code of the town. The tangle of these information-carrying symbols will compose the genetic code, the essence, and the specific of the town. The photographic image is reduced to a simple but also strongly visualized symbol, and this seed can generate the photo image. The symbol underlines formal and chromatic the image or the image is chromatic and formal underlined by the symbol. These two elements are powered by a double explanation: a word and a black and white image. The word shows the concept and the image explains it. The word gives multiple senses to the photographic image so that every person understands the idea according to his cultural acknowledges. The work is a visual essay, an alternative to the existing monographs about Cluj. The result of this work is to create an atmosphere, a sensation, an impression. There are presented simple images, full of messages. Every image says something. There are frames accessible to everybody.

Profile for Iuliu Duma

de la pamant la cer | cluj-napoca | eseu vizual  

de la pamant la cer | cluj-napoca | eseu vizual  

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