A series of installations and setups that showcase parts of artistic research and the processes that support it. Traditional and experimental techniques come together to identify possibilities:
∗ images ∗ sculpture ∗ drawing ∗ projects ∗ painting ∗ installations ∗
Projects and Images is not just a title: it signifies a practice in which design and image coexist, as parts of a process that makes visible what arises from the interior and takes shape through the creative act. The research manifests in a multidirectional, sometimes chaotic, whirlwind-like form. The interior “works,” the vortex works as a driving force, a rotational energy of the research itself.
The process appears irregular: it alternates moments of speed with moments of slowness, until reaching an almost motionless suspension. It then opens into a circular vitality, a whirlwind of mingling in which, upon the completion of a cycle or the emergence of a necessity, something surfaces. What emerges externalizes to become tangible: it is scrutinized, arranged, installed. Installing thus becomes the act, the technique of employing techniques. Acting on possibilities and porosity, on the passage points where gaze and matter can penetrate.
It is an investigation into art and the urgencies of the present, a stance of the artist as a researcher and explorer of formal, morphological, and aesthetic possibilities. Established practices—painting, sculpture, drawing, retouching, reworking—do not merely accompany newer technological tools like video, technology, and luminous screens. Instead, they intervene in the same field of acceleration of contemporary imagery, made of frames, frequencies, and fleeting appearances.
“Even what is most unnatural is natural.(J.W.Goethe)”
The present imposes itself as continuous pressure: an uninterrupted flow of images, news, stimuli, and increasingly rapid and condensed communications, which tends to compress experience. In this scenario, artistic practice intervenes as a counter-time: it slows down, detaches, suspends, and opens a space of resistance against the acceleration of the present. It is here that the action of the creator asserts itself, even where contemporaneity seems absolute, clear, hyper-defined, projected onto the world. Through its interweavings, it reworks and blends matter, the history of art in a Warburgian sense, knowledge, and other necessities.
After these reworkings, elements emerge to be installed: things to see, to hear, to think.
Laurentiu Adrian Craioveanu (b. 1987, Drăgășani, Romania) studied at Timișoara’s art schools before moving to Italy, graduating from Liceo Artistico C. Piazza (Lodi) in 2005 and Brera Academy (Milan) in 2012 with honors in sculpture. He later specialized in visual arts (2015) with a thesis on “Uncommunicable Knowledge: Interiority, Empathy, Metaphors.” Now based in Bergamo, he curates exhibitions, runs LAC OPEN STUDIO, and continues his artistic and independent curatorial practice.
