Landscape 2009

Curator: Looking at Viorel Marginean’s "Landscape" from 2009, rendered in acrylic, the overwhelming sensation for me is vibrancy—the composition almost hums with chromatic energy. Editor: It certainly bursts with energy, doesn’t it? But what strikes me most is the evident process; the texture and materiality of the acrylic is really visible here, laid down in such distinct strokes. Curator: I find myself considering the symbolism of the birds in flight against the rolling hills, and what feels to me like an allegorical portrayal of freedom and the ever-changing landscape. What meanings do you see in the distinct paint application, from your materialist point of view? Editor: Well, knowing the artist’s process with acrylic, which dries rapidly and allows for layering, is interesting. Marginean exploits that quality for depth, yet he still lets the canvas breathe through open, unworked sections of the composition. It’s an open process on full display. Curator: Yes, exactly. And consider the cultural implications—how the bold colour palette mirrors a sort of modern Fauvism. There is a certain exuberance, recalling Matisse. It is quite loaded! Editor: I do see that connection, although I hesitate to divorce this piece from its creation. While it’s fun to trace art-historical throughlines, the value, to me, comes from how the physical work manifests cultural labor— the gesture, the touch, the paint as commodity, all congealing into one surface and suggesting a specific cultural perspective. Curator: A fair assessment. In any case, there’s a undeniable vitality at play within "Landscape," that provides viewers with an immersive journey. Editor: I concur. Marginean really emphasizes the means of art-making to bring the art alive in front of us.