Zoltan Béla graduated from the University of Arts and Design in Cluj becoming best known for his hyper-realistic paintings with influences from the Cluj School of painting.
Several years ago, he took the decision to shift his artistic practice towards experimentation, scrutinizing the limits between figurative and abstract painting, object making and installation.
His purified and mysterious visual universe pays particular attention to composition, light and contrasts and explores the depth of the details, rather than the effect of the whole and the solitude of the human being, while facing the after-effects of a historical turn.
“First of all, Zoltán Béla is a collector – in reality and in the realm of the image. As with every collector, the artist’s attention is focused simultaneously on the objectand on the temporal regime the object implies. Being objets d’affection in the tradition of Breton, the pieces in his collection (whether material or immaterial) are the result of desire, of a significant affective encounter which can be traced both causally and as an eminently spontaneous, undetermined and apparently irrational action, which short-circuits the existing temporal order.
The constant play of references of the artist’s imagination unwinds between the conscious expressions of collective memory (the permanent reservoir of symbols and cultural images) and the unconscious expressions of his personal biography (the DNA of a confined internal system, perfectly folded in upon its own history). Driven by a type of optical unconscious (which the artist described in a conversation as being “a pull towards that something which indirectly entices you”), the painting-as-practice operates according to the principles of an archeology of time: by investigating its intervals, the artist moves between reification and historical reanimation, displaying its leaps, its latencies and its co-existences into a convergent fabric, in which future and past intertwine. The taste for neo-romanticism and for ruins is inseparable from an anthropological, mystical/mythical view and from the interest for memorial art and historical landscapes –humanized even in their most austere representations.” Ioana Mandeal, Transient Mood
Driven by a type of optical unconsciouss → Driven by a type of optical unconsciouss → Driven by a type of optical unconsciouss →