Mirela Cerbu

Biography

ARTIST

In the artistic exploration that she follows, she concentrates on enhancing matter, on turning back to the object, by using some very diverse materials and techniques: bio-degradable materials, ephemeral materials, tough materials, recycle materials. What is important is the experience the matter has and what it communicates. She overcomes every cliché associated with any movement, and the result is a profound and personal art, in which you can find a little bit of everything. Her visual language is infused with a variety of trends, like abstract art, surrealism, arte povera, metaphysical art, or expressionist, but without completely falling into their spell. In fact, the artistic influences that complete her imaginary, cross different nationalities and cultures. – Gabi Cherciu

Mirela Cerbu paints her own artworks. Her art lives a multitude of influences, as like the cultural pieces usually do, but I do not detect the influence of a contemporary or historical figure. I find affinity with the Japanese stamp design and the medieval miniature in some of the works, however, the care for execution and the presence of a linear narrative disappears to make space for composition that seem more experienced then calculated.
There is a part of her paintings and drawings that make me believe that she paints the same way that she breaths , a lot of breaths that overlap on every surface. The line is powerful, the color has the presence of matter, shapes compose themselves in a way that cancels any idea of comfort.
“I don’t know how the others are”, but these are some things that I look for in paintings. -Dumitru Gorzo

How can you capture in an image something that its beauty relies on the harmony of unpredictable movements? It always comes back to a blurry image nostalgic to its graceful movements in a distorted way, because when you don’t think about Her (the fly), it seems tangible, but far away, and when you want to fix it, it disappears like a dream. – Mirela Cerbu

My artistic approach outlines an experimental type of view, through the works that I am manifesting I am trying to capture a moment, without wanting to preserve it, but rather to subject it to organic and natural transformations, through which time becomes one of the essential tools. My works don’t have an end, they continue to breathe even when they come out of the workshop. My interest towards different elements found in nature, anatomical parts from the structure of living things, also even living environments, like the heart, the banana, the jungle, the fly, etc., they grew more and more with each passing day and are part of a study and experiment on a series of complex aspects. One of those aspects is represented by the exploration of behavior in a plastic language, of a basic element, found in the organic world, but who holds a special supply of mystery, diversity, unexpected structural aspects, a variety of implications, etc. This “basic” organism like the fly and its universe, is translated through a personal vision. My works propose a number of personal insights, even if the central motives are mostly taken from the outside. I am laying emphasis on a particular representation of the interior world, on a particular state of dreaming, in which the visions rule more and more creations. One of the aspects that can be identified on the first contact with my works is hazard and chaos. This fact is categorized by my wish to “dig” in-depth and play some “microscopical” parts, which are represented by a “macro” character in my art. The fly, the most common element found in my works, is a morphed element that exceeds its condition of an insect that represents a personification of the unconscious. My works are made up by emphasizing and exploiting an accident as a compositional part of the ensemble. Another foundational idea is the concept of the shadow being part of the structure of the person, morphing and attaching “the fly” motive. This new “shadow” is subjected to a series of events of everyday life and in which the time when the variety of actions take place, it gets new accidental sensations. Stitching on, this “new shadow” allowed me to access a new set of sensories and be aware of the world around us in real-time.