Critical Texts

 

How else could I call in the broadest sense of knowledge, the work of art if not as representing the transfiguration of a reality glimpse with means and tools specific of interpersonal communication language.
I do not know when I became aware of the depth of this message, but I know that my life has revolved in its essence, around this truth. For me it means not only the material reality that I report the physical existence but it is the treasure chamber that houses ideas, dreams, aspirations and endless suggestions for their transfiguration into works of art.
Core reality that we live in is an unlimited and permanent challenging source for innovation and enriching the art of language. The main purpose of my approach is the realization of possible creative representations of the surprising situations found in this reality.
I address decent appreciation and gratitude thoughts to the viewer who lingered a moment in front of my paintings, whether it has met in some exhibition on the picture rails of a museum, of an art gallery or private collection, but also reproduced in the pages of this album.
I can only assure him that what you find by looking at them, are fragments of reality transfigured with emotion and sensitivity by personal rules and meanings.


Painter Liviu Suhar
January 2010

 

    

With inclination and talent, with love for the written word, Liviu Suhar entered the pantheon of those who handle the word and the printing sign to express feelings and critical acclaim, his work including volumes devoted to the art history and meditation on visual arts ( "Pleading for the metaphor subject ", "Still life in C.D, Stahi's work," Still Life in Romanian painting "," Album – Liviu Suhar, "Glossary in the labyrinth of visual arts," "Living Album Suhar - transfiguration"). Here then, in few words, a destiny and a career that has been remarkable self built, expanding its horizons and meticulously embracing different situations of artistic and creative expression.
I conclude by emphasizing that any art space that hosts the artistic mastery of Liviu Suhar acquires a moment of nobility, is transfigured by providing aesthetic emotion and creator shiver; it loads of positive and bright energy. In fact, Liviu Suhar merely gives us a glimpse of the mature generosity from the light of the absoluteness with which it is in a constant dialogue. It is therefore appropriate to thank him for all of these and to honor him with our unswerving attention.


Prof. dr. Cătălin Turliuc  

 

 

The artist we are dealing with - Alan Suhar - is distinguished by its compositional stability, balanced compound, wholly developed in the meaning of full finitude and by a strong sense of plasticity that gives tangible concreteness in the virtue of the model illusion.


Theodor Redlow

„Arta” – nr. 5 / 1988       

In general, Liviu Suhar keeps an anchor in reality, but everything is passed through a metaphysical filter. The forms are clear, strong, devoid of details that cancel a immediately perception, leaving a open window to the timeless and symbolic. Many images refer to the music world, that abides even when it lacks the direct references to musical morphology. A special role is held by ceramic construction, with a taste for material and archaic. The transparencies manifests in the clay forms are found, tending to the same dreams, in the archetypes of the Mediterranean, treated, with heavy shadows that respond to solar audience.


Constantin Prut,
Dictionary of modern and contemporary art
Enciclopedic Univers Ed., Bucharest, 2002

 

 

Liviu Suhar has traveled several moments in the evolution of his painting: mainly concentrated around a lyricism with expressionist echoes, traversed by fantasy elements, lucid and warm at the same time, everything from a repertoire of folk motifs - stories, games, legends, habits. Today the artist does not deny those concerns, but it switched to a new stage, that of deepening them. The story, the reason are crossing their picturesque condition, its attractiveness, to integrate into a painting experience as a different reality, poetic, deeper and more true than that reality, still poetic, of the narrative or discussed, but whose meanings and resources are essential reduced by the painter. The works expresses the commitment of the poem to the essence of poetry, which Liviu Suhar searches in the relationships between color and form. In fact, this search, of which prepared and calm walk is transmitted to the viewer that as the first guarantee of the seriousness of thoroughly pondered experiences, includes first the relationship between colors and then, after the conquest of subtle innovate, the color dialogue with the shape. If the artist is trying, for an instance, the building of images on the red - gray ratio ("The greeting", "Fairy dance" and the admirable "Dance") or other images on blue ("Celebration", "Fiancées") - sometimes in their transition to green, or from a purely deep and wet green as in the very interesting composition "Wedding", he does not do for the sake of musical variations on a few color iconography issues, but from the desire to exploit all that the color stain says, in the context of forms sometimes simplified up to abstraction. This persevering query of colors realities gives a special vibration to Liviu Suhar’s painting, in the area of its color spots is an expectation, a tension that cannot be hidden by the apparent calm gesture of an applied "writing" painting. Besides, in the development of these calm gestures, of fine brushes and thin pastes, are revealing the interlacing suddenly shaken, symbolic fragments revealing the presence of truths still unbridled, yet unanswered.

 

Amelia Pavel
“Chronics”, nr. 18/5.05.1978

 

 

But the sign of a more pronounced spiritualization of the pictorial material, affiliated to an elevated transfiguration, became noticeably more acute with the suggestive composition cycle having as pulse the obsessive threshold of the great passage to eternity. Virtuoso composer, Liviu  Suhar cross the space with enigmatic silhouettes of ethereal, diffuse characters, which lose their identity to merge with the diaphanous breathing of immersion feeling in nostalgic recapturing memories or serious meditation. The forms treated in evanescent tones renders often tortuous progress, developing spherical, ovoids and ellipses which enclose energies in unusual deadeners.  With a penetrating and subtle power of abstraction it suppresses the real evidence, through tonal vaporous of refined musicality, suggesting the impression a consoling quartering in an atmosphere of metaphysical solitude. ... This rich ideational content is returned in essentially plastic, creative ways, under a solid sense of construction, rhythm and interfering, by outstanding virtues of refined and vital colorist, by generous whirling and lighting of a prodigious fantasy. All together make up the sound and style of an original expressiveness in the context of the representative spiritual values of the contemporaneity.


Negoiţã Lãptoiu,
„Chronics”, nr. 11, Nov.2001

 

As with any autonomous plastic construction - and thus individualize each Liviu Suhar's work – the composition is essential and it manifests itself through an scientist ordinance, of proximity and depth, on which frames articulates the elements of figuration, solid and sometimes vehement assertions; the fact that they are recognizable, represents the artist right judgment at maturity when at the end of a discourse, open alike through knowledge, exercise, will and representation for surrealism in one place, metaphysical conceptualism painting and "tardo-modernism, " he opt for an ascetic type of form, which tends to its own epure, separating drawing, severe luministic regime, physical poignancy, formal and intense chromatic agreements. These assertions and their model tells us to say that Liviu Suhar's vision fits the composition, existent both as a field itself but also as the trend of other genres: portrait, landscape, each with subspecies, adding to definition the compositional term.


Doina Pãuleanu,
Art historian, Ph. D. -
“Tomis” magazine, August 2004

 

 

We evoke the balance between moderate expressionism, logic monumental of compositions and the safety of the creative gesture on Liviu Suhar..
Radu Ionescu
„Cotidianul” – 8 March 1995

 

A sense of stability, equilibrium and firm articulation of forms is generated from each painter's work. Extensively developed, his painting does not reveal compositional formulas. The safety of a master of which it controls the means of expression is coupled with professional seriousness. I think we can talk about a SUHAR style that makes him unmistakably in modern Romanian painting.


Ion Truică

 

 

Liviu Suhar has agreed early the loneliness. He has never contributed to the often illusory bohemian bets, has not fallen into the ephemeral Bengali games. Painstaking and tenacious, he relied on the seriousness and professionalism. He is not a spontaneous, but a thinker for which the pictorial composition is the result of sedimentation and long reflections. The combination of thought and, by extension, the ideas is that each work can be perceived in multiple registers. We can find the joy of connection to real only to the extent that it provides the pretext of following plastic-color debates. Hence, is no graphic crash, maybe dazzling, but lacking a deep sap of a culturally supposedly by any really artistic fact.

 

Valentin  Ciucã,
Art critic

 

 

Liviu Suhar opted across his creation act for a strategy of full sincerity and also of full risk - which he consciously assumed - separating categorical the symbolic core of images from their plastic "core". Such a bold creative sectioning, which separates the painting "body" from the spirit of which the above mentioned body - composed of lines, surfaces, volumes, shadows and lights, sometimes generous colors, sometimes stingily litter - is meant to wear it, for me seems to be, in the current point of artist evolution, a sacrifice. Expressing the same idea in a more pedestrian way, but it is through this more clear, I would say that, in post - modern spirit, Liviu Suhar quarters his stylistic searches in the generous and yet arid area of surrealism and metaphysical painting, showing a definite certain tendency to lean the balance of his electivity towards the scale pan of metaphysical painting.


Cristian R. Velescu

„Convorbiri literare” "Literary Talks"– no. 12 – 2001

 

Liviu Suhar remains a painter of space where he comes from, of the place. Even if, in terms of artistic language, his painting brings into question parts of modernity, the subjects issues puts him definitive into a culture for which the real is born and lives in the fantastic. It is a reconstruction of reality, based on the type of popular show, from this mixture of worlds, of which especially the popular culture in the north of the country knew how to give a rich expressiveness. Very often, he takes direct the specific topics, such as masks, scenes from popular theater, gives us in his work the image of habits or legend characters, but mostly he takes the ceramics object, so expressive in the ancestral culture . In his painting, clay pots become characters, have the expressivity and the rhythm of a world, lend the face and personality of people, are, really, the most expressive parts of a culture.
The viewer can easily observe the fantasy element of Liviu Suhar's paintings, the symbolic nature of representation and the articulated construction that emphasizes the form, which most often is taken out of the context of a natural relation. On Liviu Suhar's paintings we speak about rhythm and dynamics, about a type of monumental issue exploited for the purposes of exemption from "model" and translating the meaning to its symbolic nature. Liviu Suhar's painting is one of the references, a type of cultural syntax that characterizes a space by elements, but especially by its characteristic atmosphere. And from this point of view, the color component has the most important role in the context of his painting. Saturated color is "handled" with the help of light. He values the robust expressive, through which we clearly read about the vitality of popular art, a specific element of his painting. Expressive in form, strong in color, emblematic by symbolic nature, these are the items that best define a creation well located between past and present.


Maria Magdalena Crişan

 

Fully and convincingly seated in the value chair, Liviu Suhar has as privileged allies the time and the professionalism. The first counts his years and gives him the power of colored dreams, the other to always find the right words for the founder thought of beauty. Above us is overflowing from the horn of plenty the spiritual fruits of a man and artist who multiplies the talent in the calm rhythm of each brush stroke, of the breath that can animate the inert. In celebration of 65 years, through the lovely exhibiting selection from Dana Galleries, Liviu Suhar has reconfirmed his highly professional artistic statute, of integrity and generous humanistic openness. We receive the now offered gifts with the feeling that if we didn’t have the wisdom to enjoy them properly, we would be soul poorer and lonelier...


Valentin  Ciucă
Art critic

 

His art of real originality lies in the painting area with a discreet METAPHYSIC touch. His paintings have a quiet beauty, in which you can feel the science of composing and the art of painting. The color is sober, harmonious, balanced without harshness and violence.
The talent of the SUHAR drawer you feel in its portraits, where the artist manages to capture the model character and typology, and suggest his psychology. He masters with authority the oil painting and the pastel, draws surely, but the true measure of his talent is evident in compositions.

 

Ion Truică
„Symposium” – Thursday 20 May 1998