Arts Education Week. PNEUMATIC Collection.
Article published on 28-05-2020
The artist Carmen Emanuela Popa returns to Arts Education Week with her new concept, in drawings, and an artistic statement in which she talks about the context of interculturality and education through art, in congruence with the ancestral belonging of the human being.
The PNEUMATIC collection is previewed on the occasion of this event and aims to promote visual culture through design and its interdisciplinary issues, but also aesthetic values in close connection with the methods of expression of contemporary art.
Artist Carmen Emanuela Popa started her collaboration with the Romanian National Commission for UNESCO through an international project dedicated to the anti-violence, ”Academy of Young Women. The Fight against Xenophobia, Extremism and Aggression”, and a second, Future Folk, initiated by the Alumnus Club for UNESCO, a context in which the artist developed a series of interpretive visuals, making real conceptual leaps between historical and contemporary, but also between statements, stylistic features of different cultures.
She is a PhD student in Visual Arts at the National University of Arts, Bucharest and a graduate of the same university at the Faculty of Decorative Arts and Design, with a Master's degree in Fashion and Costume Strategies. In 2018 she received a scholarship at the IUAV University, Venice, Italy.
Philosophy, by Carmen Emanuela Popa
The PNEUMATIC collection suggests a comparative hypostasis between the exterior and interior of the human being.
The human body is a tyre that, subject to various actions of external factors, constantly measures its strength. It is up to us how we maintain this quiet and fragile armor that shelters superior ego.
The urban world is like a Beethoven symphony, serious and intransigent, but also revealing. Our enveloped being must build and build itself, ascend and descend in the plane of particular challenges that man considers essential.
Resistance in traveling the "road" is a decisive factor in achieving emotional, catharsis states and/or professional ideals.
The stylistic methods by which man manifests his actions on his own existential approaches but also on others through the ways of communication, both form and rhetorical content, are the subject of drawing his personality and developing an individual "architecture" that highlights the human profile.
Grace or brutality are one's own choices to pound the realms of one's conscience in the desire to suppress individual needs and, on the other hand, to share impressions, feelings and cognitions.
Satin materials make up the figurative of an oversized tyre that creates imposing and refined structures, symmetrical labyrinths and geometric 3D shapes, a coating conducive to the practices of (over)living, adapting and reacting to external impuls, especially in times of social insecurity, etc.
Accessories with strong contrasts between the ”artificial consistency” and wear of the rubber and baroque elements, jewelry inserted in the structure of the common anthracite gray mixture, suggest post-utilitarian properties of the created object. Art as an evaluation of symbolic antitheses but also as responsible for the elimination of visual conventions.
We can go to sowing wheat in a tractor similar to a royal chariot.
Artistic statement | Carmen Emanuela Popa
Although being an artist is not something that is learned, there are some defining elements that young people can acquire from their debut in expressing themselves plastically.
First of all, the artist must find himself in the context of a nonchalance to create, more precisely in a perpetual interdependent communication with the creative energy, without excessive limitations offered by techniques or visual ways already exposed.
Originality can only come from the inner worlds which, once left open, should not have a term of comparison with others.
Art is the realm of everyone in which one finds an unexplored land of their own affinities with the real but also with the spiritual aspects of his life. The artist is a seeker of "metaphorical gold" for his own joy but also for those who look at his work.
Artists can be practitioners but also non-practitioners. The “white” artist is among us and is the one who tastes the most fervent art, with an exacerbated passion for the luxury of revelation, which often equals that of the artist himself.
Art is a free manifesto through which the one who proclaims it involuntarily attains high sensibilities of perception and creative spirit of man. That is why the act of creation is a sweet compound of life, both for the one who practices it and for the one for whom it is intended, as a form of indirect manifestation with the presumptive purpose of relaxing the rigidity of reality.
An emerging component of art is to reveal, to give birth to objects, meanings and new emotions, a world that incites the truth and heals where it has made its home the “too little”. It is meant to re-establish the connections with the immediately everyday universe, but also with the ancestral one that intermittently hides under our “veil” that covers our true face, that of a brilliant entity that is always in the service of creation.
Art education cannot be done without appealing to the proximity of the dreamer and especially to the permanent communication with one's own creative beliefs. All information levers of a scientific and practical nature must be aligned with a good and correct discourse whose purpose can be none other than the revelation of the emotion that lives in the most diverse inspirational sources.
In fact, enthusiasm in an educational system results from this tandem between knowledge, innovation and metaphor.
Find out more about International Arts Education Week!
