The Center and The Outside a cosmogony ofthe transient fonus

One year after the ending of the creative bustle of the eleven artists protagonists of the sculpture camp, hosted by several grassy glades in the park of the resort of Singeorz-Bai, the works took the road of the public establishment sheltering temporarily through the exhibition halls according to a miraculous transient tradition by which the works of art carne to welcome the communities and net the other way round. It is net the worst episode of the life of the sculpture, but I assure you that it is one of the mosI expensive! But, probably, only thus the destiny of a work of art comes true, through the trip that sets out its birth.

Out of the hand and, I would add, out of the poetic dreams of the eleven personalities from Holland, France and Romania, belonging to different generations and art schools, resulted many spatial arguments, created in wood, clay, metal and other unconventional materials, according to the esthetical and programmed stake proposed by the initiator of the project, the sculptor Maxim Dumitras.

"The Center and The Outside" it's how this concept was named; it inspired and gave substance to the intervention of each participant, although the wording, by its extreme lapidarity, invites you mare to an abstract speculation and ambiguities in interpretation. It was, in facI, a happy opportunityfor meditation and cultural interrelating. Exceeding the metaphysical speech by concentrations of the ideas, mosI of the artists appealed to the archetypal symbolism agglutinated in the great sources of the worldmythologies, believes, transient materialleavens ofthe civilization. A type of condensation involuntarily stands out at the end of this intervention, into an anthropocentric symbol of the senses of this world and of the reason of being of the universe we live in. The hu~an. ~eing, ~ith aII his lights and shadows, ups and downs train dominated the interrogative flow of the participants and, Imphcltly, thelr,answers Into a sculptural or installation concept. The relating openly interpreted, to the mythology and to the essentlal symbols of the humanity was made without a cleavage accusative sacredness or iconoclasts, but wlthout the frivolous tendency of the profane way of thinking on interpreting the forms of the living tac. The coherency of the sculptural rhetoric didn't affect the legibility of the shapes and architectures created by the plastic languages and Visions, often surpnsmg by thelr modernism.

Corneliu Antim