IN-TRIGÂ project or how to live my own "tripalium" 


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  My current approach focuses on finding proximities in between my references (especially in fields such as art history, literature, philosophy, anthropology, dance, theater and cinema), my private sphere and my artistic work in its physical materiality. I do not want to make a distinction between the concept of work (of a travel-tripalium type) and the ones of production and creation. Deepening this sense of work (the work and creation as well), it is on the one hand that which defines our human condition, and on the other that which directs our need for spiritual greatness. Trying to provoke encounters between various shapes and then deploying them into space would be a creative process that develops around a variety of concepts, the main ones being: abstraction, disguised narration , subjectivity, auto-refferentiality, love as lack of work, trace, community of absence, dissolution, time, consumerism, conservation, nomadism, exile in nature, immaterial and the aesthetic co-presence. What interests me is how to live in my own work as into an evolving organism, although I perceive it as an job-idle-free work of all that is usually associated work concept in social efficiency and productivity. This work is a conscious, conscientious and almost childish micro-utopia of the everyday life: to take care of the place surrounding all and everything around us to improve relationships with others, with people, animals and nature. 


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       I follow the movement of a material (waste, everyday debris, used or unwanted objects) that constantly turns into a new stage. Handmade and the natural have always had a great importance, usually leading to the involvement of my entire body into the material, sensorial and physical fabrication. With time, I impose to the  visual language an "encoded" treatment, a mounting behavior that insribes within my everyday gestures, which become in turn rituals and reflexive acts. This process gives rise to repetitive forms, the zăercs, who end up overwhelming, exceeding themselves, being destructed and retransformed. 

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       My goal is to keep active this creative process on a constant basis, before a clear idea could be made. I want this process to remain a question and not an answer, to be a way of simply affirming the immanence. The processes around the remnants of objects and debris become part of the creation process of new works. The deposits of debris materials are works in themselves, dispersed as groups of objects – reversed collections. I do not want to anticipate the outcome of this fragmented journey because my interest lies in the very process of searching and eliminating the concept of failure in the creation of a work. What seems initially a failure is not the end of the matter, which is reused and transformed throughout the circulatory system of waste, recovery and reparation. 

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My practice is the proliferation of a perpetual expanding personal universe, with the main purpose of sharing a space with others, hoping that these forms are themselves space. The staging of the zăercs as public exhibition is a sort of revelation of this practice in the making, an ongoing practice as a form of engagement that would try to escape from the conventional view of the result of completion. My response vis-a-vis to the possibility of art now is a sort of "recycling" which is nothing but the voice that says present, without limits, nothing more than that, to continue time, to conjugate it, to accompany it, revisiting the past and allowing others to be co-present and participants.

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© Maia Oprea 2012