The waiting - Composition 210

By Kloska Ovidiu

Kloska's angels are stunning compositions on the theme of angels seen like light vibrating energy with human shape. His paintings on such an original approach are absolutely stunning the viewer guiding in a soft way to a deep mediation on our human spiritual condition.
Art Description
Painting: Acrylic on Canvas.
from THE BOOK OF ANGELS series: "The waiting - Composition 210"
original acrylic on stretched canvas
canvas size: 60 x 80 cm painting is varnish to protect the colours in time

THE SUMMIT OF THE ANGELS

Ovidiu Kloska, a technician, does not allow his profession to come out to light. His presence is perfectly shaped and he is open to substantial and unconventional dialogue. He is a painter and a poet at the same time. From another point of view, the rationalism implied by engineering can be found only when navigating the internet and signing his emails with the exciting formula I AM KLOSKA.

On the rest, we are dealing with a free spirit, open towards the sky of fantasy, where the presence of gladiator angels reign over lucid insomnia and turn into unusual paintings. The exercise and the performance in modern techniques of advertising design brought him a reputation and all this turned him into the promoter of painting. Actually, a poet disguised as a painter, Ovidiu KLOSKA wants to propose to modern man another way of imaging, in a way that common elements of traditional painting cannot find their place anymore.

He does not reject the classics, but he does not worship them with endless devotion either. He feels, in everything, just like a free man. His personal touch on every image comes from all this and it focuses almost entirely only on a specific abstract concept. His show in Focsani looked like the perfection of initiation in angiology, the presence of the angels and their lives aiming to ineffable, to mentally estranging from gravity. This is where the idea of the angel comes from, from a theological and artistic point of view. He is not interested in pointless endless discussions about the genre of angels, just like the previous ones, but only in the population of angels that live in the interval.

The interval is actually the space between God inside us and God outside us. Our guardian angel turns into the dominant element of the painting, in different situations. Kloska’s glosses on the subject are original and they lead to insomnia. Mostly that of the spirit called out from agreed-upon conventions to propose another manner of negotiation with the sacred and the eternal. Animated spirit by insoluble questions, he goes deep with every piece on the lands of illusions. He does not give any sentences, he just invites us for journeys into the volatile zones of fiction and mystery. Kloska never starts to forget from where he started and he doesn't break himself to affirm that he's sometimes crossed by the seductions of the delirium. He is speaking with angels. In a composition with an aspect of baroque unplaite of very well articulated luxuriant lines, he is calling the memory to imagine a possible dialogue with the Guardian Angel. The questions sound real, the answers are equivocal. The tension of the image associates vulnerable armour and cherub diaphanes in a spectacle where the trumpets are sound spelling a possible apocalypse. The chromatics is forcing itself with precious Rembrandtian associations but also with loudly greys metallic articulated. In "the first photo session of a guardian angel" the heavy armours are becoming a possible burden, fragile carcases where, in fact, the faith is living. Other times, the spectrum of impenetrable nights presumes grave colouring association. even funeral in Baconian key while the orgiastic feast of joining is having the devastating air of heresy. The proportion between the dark colours and the cluster of gold yellow glitters that is inundating the sky of compositions is bringing to attention a cosmic couple of light and dark. The gushing fantasy, the nocturnal reverberations of the poetry, as the painter said, amplifies the sonority of chromatics and multiplies the dramatic development
of the forms in the graphic space. Not by fortuitous chance, Ovidiu Kloska is hearing the music of spheres and is seeing angels.

The translation between real and imaginary, between the form and the gesture disinhibited from the compulsion of the authority of tradition, is making the painter reinvent the space from the perspective of a time animated only by the wing flapping of angel fall into sin.

Substantial plastic comments on such a theme prove the configuration of a vision, an implementation of a stylistic. So, adding ourselves to his tireless introspective
thought, but also to his poetic visionary utterance, I think we are really dealing with a real true creator. There, we can say, is a spirit witch is watching over our bourgeois reconciliation with ourselves.