By Steven Thompson
The genesis of
Matei’s characters, their symbolism, as well as his interest in the circus can
be found in his early association, beginning at the age of 13, with Traian
Alexandru Filip, an internationally renowned etching artist and painter. As
Traian’s apprentice, Matei studied the à la paupée technique of etching and in 1984
was asked to assist in printing a number of etchings for Traian’s upcoming
exhibition in Italy. Among those works was one titled “Il circo” in which
circus characters and animals represent the difficulties of Romanian life under
the regime of Nicolae Ceausescu. The symbols in that etching were repeatedly used
by Traian as his work became progressively darker and pessimistic in contrast to
the regime’s officially sanctioned and purposely optimistic art of social
realism.[1]
Traian began to let his art show his growing contempt for the regime and to
raise international awareness of the plight of the Romanian people through
symbolism using biblical, mystical and medieval compositions.
Matei uses many
of the same compositional themes in his paintings to speak of the societal issues
facing all of us today and to deliver his own social messages. However, Matei
uses humanity instead of animals or objects as his symbols. More specifically he
uses the flawed, troubled, rejected or simply average parts of humanity, to
communicate his social messages. His paintings examine our daily struggle
walking the line between right and wrong, strength and weakness, and generally dealing
the daily ‘circus’ of our society’s characters, especially those in positions
of power. Or perhaps we are the circus performers in a society in which the
ruling elite benefit from our work and the only chance we have of improving our
status is to make it to center ring of the three ring circus.
The “Circus is
Coming to Town” series is the modern equivalent of the mythical with unique but
outcast characters, such as the giant woman and the dwarf-strong man in “The
Arena” as well as the hunchback and the contortionist in “The Caravan”. The characters
in the paintings, some repeated from his previous works, have a common element.
They are solitary, generally not interacting with others, and in the few
instances where characters do show a connection, it is impersonal. In fact no
character looks at another and only two in the entire exhibit actually look at
the viewer. Each person crowded around the table in the “The Graal” is unaware
or indifferent to the others surrounding them, a reflection of our society
today.
Matei’s artistry
in composition, skilled use of symbolism, and supreme craft of execution create
works that are immediately attractive while also possessing a much deeper
meaning. His work draws you in, forcing you to study it and contemplate the
composition and message. The characters, individually and together, are the symbols,
communicating Matei’s social critiques. It is the viewer who must ‘read’ the paintings and the messengers therein.
This exhibit in
the Romanian National Library brings the story of Matei’s art full circle.
Designed and started in 1986 as a principle part of Ceausescu’s ‘celebration of
socialism’ development project, the National Library building today hosts the
work of one of Romania’s most significant artists who has carried on the social
criticism begun by the most important artistic voice of the communist era which
the dictatorship failed to silence.
[1]
Carroll, Tonya Turner, “Traian Alexandru Filip: His Art and Life”, 1997
Steven Thompson is a consultant specialised on Eastern European Markets and an art collector
Steven Thompson is a consultant specialised on Eastern European Markets and an art collector
Grand Circus - The Caravan
oil on canvas, 200 x 180 cm, 2013
Grand Circus - The Graal
oil on canvas, 200 x 180 cm, 2013
Constantinopole
oil on oak, 165 x 40 cm
