KLOSKA (Ovidiu Closca)
In 2000 he graduated the Technical University “Gheorghe Asachi” from Iasi, Romania, Faculty of Electronics and Telecommunication.
In 2009 he graduated master classes at “George Enescu” Art University from Iasi, Faculty of Fine Arts with the project “Urban wear – oniric interferences – object of art”. Lives and creates in Focsani, Vrancea district from Romania.
– 1999 – personal exhibition – pen and ink drawings – The house of the students, Iasi, Romania – “The student Art Week” ;
– 1999 – personal exhibition – pen and ink drawings – “Luceafarul” Theater, Iasi, Romania;
– 1999 – collaboration with Literal Association”Outopus” – illustration of no. 5 number of the literary periodic;
– 1999 – collaboration with the poet and dramaturg Mircea Rotaru – illustration for the dramatic piece “The house between worlds”;
– 2002 – personal exhibition – paintings and graphics on canvas – Art Galleries Focsani, Romania;
– 2002 – collaboration with the literary association “Oglinda Literara” Vrancea, illustrations for the no. 13/ year II;
For the period 2002 and 2007 – Art director and Master graphic designer – ONMEDIA Design, Focsani, Romania.
– 2007, january – TIAV Bucharest – International Festival for Visual Arts 2007 – represented by Hidalgo Art Gallery;
– 2007, february – group exhibition – ArtSpace 2000 – International Center for Culture and Arts “Arcus”, Sf. Gheorghe, Romania;
– 2007, april – personal exhibition – “Hidalgo Art Gallery” – Focsani, Romania;
– 2007, november – personal exhibition – Art Galleries Focsani, Romania;
– 2007, october – personal exhibition – “Espace Costos” Gallery – St. Tropez, France;
– 2007, december – personal exhibition – Galleries of Art – Focsani, Romania;
– 2008, june – group exhibition – ” Atelier 35″ – World Trade Center, Iasi, Romania;
– 2008, july – personal Exhibition – “Incandescent and wears” – “Tonitza” UAP Art Gallery, Iasi, Romania;
– 2008, july – group Exhibition – ” Moldavian Salons ” – Galeries and Institutions from Bacau, Bucuresti, Chisinau;
– 2008, august – group exhibition – ” The city” – World Trade Center, Iasi, Romania;
– 2008, august – group exhibition – ” 4 romanian contemporary artists” – Nably, France;
– 2008, november – personal Exhibition – “Urban wear – oniric interferences – object of art ” – International Center for Culture and Arts “George Apostu” , Contemporary Art Gallery, Bacau, Romania.
– 2009, july – group Exhibition – ” Moldavian Salons ” – Galeries and Institutions from Bacau, Bucuresti, Chisinau;
– 2009, november – personal exhibition “Memory mark” – paintings, graphics, instalation, photography – Art Galleries Focsani, Romania.
– 2011, september – Personal Exhibition – ” Flowers for Kafka” – Calderon Club, Bucuresti;
– 2015, april,may – Personal Exhibition Painting- ” Alone to the invisible touch” – paintings -” Nicolae Mantu ” Art Galleries Galati, Romania.
Review from “ALONE TO THE INVISIBLE TOUCH ” Exhibition April 2015
“KLOSKA OVIDIU OR THE DYNAMICS OF THE IMAGE
When approaching Ovidiu Kloska’s works, our attention focuses on certain elements. The first would be a tireless desire to experiment techniques, bolding plastic ways approaches: installations, graphics, paintings, mixed techniques. “The Wear of the City” is an interesting series; an attempt to use common places, as the artist says, so that by transfiguring them, to reveal the artistic connotations of the urban space and his facets regarding the way of perceiving life beyond the immediate reality. Ovidiu Kloska’s creation expresses a restless, but avid spirit that wishes to encompass the best of the visible and invisible material world. Taking into consideration Art History, we can behold, to some extent, what animates the artist towards a Romantic vision or maybe towards a Neo-romantic one which, of course, includes all postmodernist data. His art asserts freedom and his somehow exacerbated desire to express his individuality; but it is even more than that. It is the anguish to include the intangible and to imbed metaphysical meanings within the artistic object. In fact, the term “to imbed” is very inappropriate when discussing Ovidiu Kloska’s artistic approach. The images he creates, frequently human images, present a constant fluidity, a non-finite that we encounter in Turner’s paintings or in the informal of the abstract painting, although the atmosphere they liberate is different. As even the artist sometimes expresses it in the captions or in the titles given to his works or in the series, the oneiric is an always-present dimension in his visual approach. The dynamism of the form or shape captured in a constant metamorphosis is a change that captivates the viewer and impregnates him with those anxieties that dominate the artist. Maybe “anguish” is not the most appropriate term, since I do not perceive any depressive effect within the universe created by Ovidiu Kloska. There is the unrest that comes with space crossing: cosmic and material spaces, spaces of knowledge. This element really exists: a rush to reach spiritual essences, primary responses. No, answers do not appear to be the subject of his works, but the itinerary towards them, the whole process, along with its internal dynamism. How does he perform it visually? I think that the solutions he offers – the present time solutions, because he does not seem to be an artist who settles for a formula, without exploring beyond it – are quite different, but stylistically unified. First, there is the diversity of materials and, second, the valorizing of plastics. What we have before us, the informal, the abstract-figurative game, the sensing of the decomposing or transforming matter, the halos surrounding the figures, the light and shadow alternation, represent a real exploration of the matter, of the pictorial matter, an affirmation of the material world. However, paradoxically, through the manner in which it is treated, it receives a spiritual dimension, this continuous sliding between the material and the spiritual being the internal dynamic of the image that captivates us. The quick brushing, the gestuality that builds and deconstructs the form, the pictorial vibration of the paste and the contained light or shadow – everything moves vivaciously, soliciting and integrating the viewer in the artistic process that seems to take place in his presence. The artist binds human silhouettes, figures, which he seems to challenge. He binds them in a constantly budding and mysterious universe. It is a creation accomplished under imminent revelations whose approach, captured by the artist, is communicated to us in often surprising images.”
Art critic Mariana Tomozei Cocoș
“Kloska, seeking the road to Damascus
Certainly, the art signed by Kloska is taking part into the creators major effort to detect and express the essences of human beings, just as it shaped by the all times. Fallen into the subject of the temporal, in a sub-solar space, the humanity find itself forced to twist its spirit, almost mutilate it, referencing to the crossed historical and moral times.
The perpetual metamorphosis of the spirit produced visible traces, often even into the meat surface, at the human figure, where the artist Kloska searched and seacking to capture, through specific tools or effort, almost demiurge, kneading whole inner man, subconsciously placed beyond .
Whether artistic expression occurs in stone, metal or on canvas, she plays, possibly, a certain portion of the mystery that lies in nuce, in the most hidden place of human beings, where the spirit – today as a mustard bean detached from the universal primary fire – is still flashing and keep alive the being state of human nature, spoiled by the original divine gesture of unique genesis.
Undoubtedly, the human universe is as exciting to explore as the outside world as human beings, taking, however, urging the ancient Elders, who left at some point the investigation of the macrocosm in favor of the research of the microcosm typical to human being, so Kloska is taking this route of the ancients over the light of modern art, showing, following the impression that he left to us, as he is founding himself in a deep search of that THING of which many others turned to long time ago before him, respectively the Absolute detection.
Artistic methods means no comment, they completely belong to the author, who seems to be stuck in a sustainable areas, by the very matter in which his artistic approach consists in stone,and also in metal. So is also added, the dimarch on canvas witch is transposing the same stihial trend, detected in the works that had as the base the stone, as it is finded molded by Other hands, namely of the Creator himself.
The acquisition of divine design and the self try to remake a route to the being roots of the humanity – when, she was still finding in her lighter period – is representing a titanic effort for every artist; so, that’s why Kloska himself, taking part at the same investigation, he is working a lot, reminding us of the sisific effort of the mythical character, the same of witch we should imagine happy, especially in the time that he was coming down from the top of the mountain to the base of it, for reassuming the eternally effort.
The throes caught by the artist , on the faces fixed in stone, metal or on the canvas, are showing us the exact last stage of the human existence before the Apocalypse, the event announced not only by the Bible but also by many other great book of humanity, in different times and particular moments; placing us in a spiritual level, where is proper to insist on the idea of the extinction of the actual human kind – the extinction announced also by the Kloska’s artworks – in the sens that is not about a biological disparition, on contrary, pointing to a radical metamorphisms of the world, at a specific moment, so as to have the possibility to reborn again complete, rounded,perfect, as at the beginnings, when it was saying, that it was traversing an absolute age, perfect in all respects, unaltered by further progress subject to time devorated consuming.
Hope that will come a time when mankind will radically transform itself, is rendered by the Angels’s world that crossing the creations of Ovidiu Kloska, a sensed world, based on the true believe of a superior existence to which human beings can tend to their path to Eternity.
Kloska is an young artist, noted already in the so demanding world of the artists. He is continuing to seek the road to Damascus, but on witch we are confident, that one day, he will have the happiness to know it.”
Prof.dr.Fl.Agafitei – writter, indianistic expert
“I cannot imagine how one can possibly see behind this work how much time and effort it took for me to develop this unique space that defines me now. I have discovered angels when I almost got drowned three times the same summer and I pray every time at dawn for God to exist. I have discovered real art in Iasi galleries an in the art albums from the second-hand book seller on Lapusneanu street. I have started then sleeping on pillows smelling like linen, with canvas on the walls and under the bed.
I have never eaten paints, though in the first grades I drunk the water for the aquarelle. And here I am, young, continuously wandering and dedicated, sending invitations to an imaginary park for preserving the soul. Most of the plastic themes used, the symbols and shapes included in my work, are taken out from a reality spoiled by time, and then they are reshaped in a special way in my opinion. The most important theme is the wall.
Constantly fascinated, this dynamism of shape opens up in a unique way, by projecting a sway of mind, a mind performance with neurological circuits. This is my “magic eye”.I believe that by uniqueness begins with the very capacity of inventing universe out of things shattered by time, things that have changed into ephemerity. There are hours that I spend staring at the mud, at the wrinkles of the trees, at the rust of walls damaged by time. It is an exercise that everybody should make. It means worming the spirit, getting in touch with the sublime. I am connected to silence and endless time during the short chat between things. Sublime. Esoteric. … And the night… that cold, fascinating light that makes things change their meaning, driven by an inner tremble that is known from a previous moment, fluttering through images.
My visual relates with dreams, unconsciousness, delirium, hallucination, with the change of shape and light, with the spontaneous, illusion, abnormal and normal, bizarre and wear.
My name is KLOSKA and I will be you host during your visit to the park of preserving the soul.
FREE ENTRANCE! “
“Kloska has an important advantage on his side, which, analyzed from a distant point, would look like his opposite nature: he is an engineer. So he is enabled to imagine painting with a certain freedom given by the fact that there are no prior analysis or any long reading on the subject. And at that point, at least in the beginning, you think and you know for sure that you can inexhaustibly do almost everything. In this very moment a certain censure intercedes, a certain natural dowry, which I am sure that Mr. Kloska owns and which keeps him within the decency bounds. In the same time it makes him bold enough in order to adopt such theme as the Angel. Presently, The Angel is the generous theme in art, I can say that there is an invasion of angels, not only in painting, but also in literature and a couple of other fields too. It is a big interest of the modern man, it finds its fulfillment in different forms and that is a very good sign.
Angels are messengers to Koska, as he so beautifully states. It is true, but the way Mr. Kolska is seeing the angels is a special one: his angel is gentle. I cannot see any of his angels like the one that Jacob is trying to hold by his cloth, I cannot imagine Rilke bagging for his forgiveness, because, as we know, his angels can be vindictive. I can only see him as the right angel, the one telling us that we are kind and beautiful and young and so on. I thing that the artist is keeping for himself the left angel. There is a desire that I distinguish, which might be a good one, that of imagining the angel loosing his sacred nature – in the good way of speaking. It is clear to all of us that his image has its origin in the rigor and the canon of the religious picture. It is more like that presence that we like to see next to us, who guides our mind and spirit towards that place where angels truly live. This is his way of doing a good, beautiful deed, in a way that suits him, and which he considers reachable and expandable.” / Ana-Maria Hartuchi , Art Critic
” Through the galleries
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 in the same time. From another point of view, the rationalism implied by engineering can be found only when navigating the internet and signing his e mails 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 the turn into unusual paintings. The exercise and the performance in modern techniques of advertising design brought him reputation and all this turned 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 gloses 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 invite us for journeys into the volatile zones of fiction and mister. Kloska never starts to forget from where he start and he doesn’t brake himself to affirm that he’s sometimes cross 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 dialog with the Guardian Angel. The questions sounds real, the answers are equivocal. The tension of the image associates vulnerable armour and cherub diaphans 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 grays metallic articulated. In “the first photo session of a guardian angel” the heavy armors are becoming possible burden, fragile carcases where , in fact, the faith is living . Other times, the spectrum of impenetrable nights presumes grave coloring association. even funeral in bacovian key while the orgiastic feast of joining is having the devataiting air of heresy. The proportion between the dark colors and the cluster of gold yellow glitters that is inundating the sky of compositions is bringing to attention the 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 desinhibated from the compulsion of the authority of tradition, is making the painter to 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 proves the configuration of a vision, a 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 … ” / Valentin Ciuca, Art Critic
“Kloska, în cautarea drumului Damascului
Cu certitudine, arta lui Kloska se înscrie în efortul major al creatorilor de a detecta si exprima esentele fiintei umane, asa cum a fost ea modelata de vremuri. Cazuta sub incidenta temporalului, într-un spatiu sub-solar, umanitatea s-a vazut nevoita sa-si contorsioneze spiritul, aproape sa si-l mutileze, prin raportare la timpurile istorice, morale traversate.
Metamorfozarea perpetua a spiritului a produs urme vizibile, adeseori chiar si la suprafata carnii, a figurii umane, acolo unde artistul Kloska a cautat si cauta sa surprinda, prin uneltele specifice efortului sau, aproape demiurgic, întreaga framântare launtrica a omului, plasata dincolo de subconstient.
Fie ca exprimarea artistului se produce în piatra, metal, fie pe pânza, ea reda, pe cât posibil, o anumita parte a misterului ce zace in nuce, în cel mai ascuns loc al fiintei umane, acolo unde spiritul – prezent ca o boaba de mustar desprinsa din focul universal, primordial – continua sa pâlpâie si sa mentina vie starea fiintiala a naturii umane, alintata de divinitate prin gestul initial al genezei unice.
Neîndoios, universul uman este la fel de incitant în a fi explorat ca si universul exterior fiintei umane; preluând, însa, îndemnurile înteleptilor antici, care au parasit la un moment dat cercetarea macrocosmosului în favoarea investigarii microcosmosului caracteristic fiintei umane, Kloska reia parcursul anticilor prin prisma artei moderne, aratând, asa cum ne-a creat noua, cel putin, impresia, ca se gaseste în plina cautare, în aflare a celui spre care s-au îndreptat multi altii înaintea sa, respectiv în detectarea Absolutului.
Mijloacele artistice nu le comentam; el apartin cu desavârsire autorului, care pare sa se fi cantonat în areale durabile, prin însasi materia din care-si compune demersul artistic: piatra, în special, dar si metal. Se adauga, demersul pe pânza ce transpune aceeasi tendinta stihiala, detectata în operele ce au la baza piatra, asa cum se regaseste aceasta modelata de alte mâini, anume ale Demiurgului însusi.
Preluarea modelului divin si încercarea proprie de refacere a unui drum catre radacinile fiintiale ale omenirii – pe când aceasta, înca se gasea în etapa luminoasa a ei – reprezinta un efort colosal pentru orice artist; tocmai de aceea si Kloska însusi, angrenat în acelasi demers, munceste foarte mult, amintind de efortul sisific al personajului mitic, acelasi pe care ar trebui sa ni-l imaginam fericit, mai ales atunci când coboara din vârful muntelui spre poalele sale, pentru a-si relua travaliul etern.
Chinurile surprinse de artist, pe figurile redate în piatra, metal sau pânza, arata exact etapa ultima a existentei omenirii înainte de Apocalipsa, eveniment anuntat nu numai de Biblie dar si de alte carti mari ale lumii, în evi diferiti si momente aparte; situându-ne în plan spiritual, este bine sa nuantam asupra ideii de extinctie a omenirii actuale – extinctie anuntata si prin lucrarile lui Kloska – în sensul ca nu este vorba despre disparitia biologica, ci despre metamorfozarea radicala lumii, la un moment dat, astfel încât sa aiba posibilitatea de a renaste împlinita si rotunda, desavârsita, ca la începuturi, pe când se spunea, ca traversa un ev absolut, impecabil din toate punctele de vedere, nealterat de ulterioara derulare sub incidenta devoratoare a timpului.
Speranta ca va veni momentul când omenirea se va transforma radical, e redata prin lumea îngerilor ce strabate creatiile lui Kloska, o lume intuita, bazata pe certa credinta a unei existente superioare spre care poate tinde fiintarea umana în traiectul ei catre Eternitate.
Kloska este un artist tânar, remarcat deja în lumea atât de pretentioasa a artistilor plastici, care continua sa-si caute drumul Damascului, dar pe care suntem siguri, ca într-o buna zi, va avea fericirea sa-l afle.”