Maria Alexea’s art of imagery is a Universe of unexpected beauty. Though it seems familiar it had never been seen before. A viewer would wonder where the boundaries between reality and myth are standing. The answer is that nothing is real as well as that everything is real. Maria is making up her own hyper-reality from the bits and pieces of the reality of the actual world.
Something else that would draw the attention viewer is the different means of depiction. Photography and photography-collage, painting and video co- exist side by side. But are there elements that connect these disciplines? Yes, there are. Dancers and columns, cloth and ruins, birds and trees, water and fish are common in her work. Living and non – living nature are resonating with human presence. The dancer (or dancers) has in fact to resonate with everything around him. She is to adjust to the environment, as well to adjust it to her self. The reorganization of the surrounding space is very profound in the paintings and even more, in the photo collages. In these cases it is easier to see the inner, abstract dance, of a harmonious reconstruction and reconnection of spaces in a single unity where the dancing human and the rest of the natural forces come to interplay. All disciplines are to display different aspects of the themes involved. But above all, it is the overall pattern that connects. And despite of what each of you will discover in this art, we feel we must give you the hints in some of the subconscious processes that forged it. In fact they are hints for some of the subconscious concepts that formed what you will see today.
We will not refer to feelings constituted from the early experiences of life. Speech and feelings are learned, but nobody remembers how he/she learned to speak, or how exactly some feelings are embedded in his/her personality, due to the minds economy to “erase” this memories and leave new room for new knowledge. Instead, we will speak for the biomes that formed the feelings of the artist, that part of the subconscious experience that we see explicitly emerging in her art. We will speak for a child’s “scientific” view of the world – sometimes far more scientific from that of some scientists, although we will have to use much of an adult’s terminology. Art seen as depiction of the fountains of an epistemology, that is the secret. Please remember that last remark, for it has wider implications: Maria’s vision of aesthetic education is based on it and the video that follows will explain more on that matter.
Maria’s work is not about columns or dancers; it is about balance achieved through motion. It is about the harmonious movements of the whole world around us, and that even if we produce ugliness, the universal laws are such that will lead an area of the universe or, if you will, an ecosystem, to beauty. That is, its normal functionality.
Let us look again some of the elements in these depictions. The seawater has waves and currents (notice the role of currents in creating waves). These are created from the interplay of the sea with various winds and the earth that surround it, along with the effect of its own traits. The light absorbed and deflected in specific portions by soil, water and molecules of air is also a wave. Colors are in fact the specific wavelengths of light. The characteristic shading- off tint of a specific color in the font in one of Maria’s paintings are also wavelengths we can perceive, much like the shading – off tint of the seawater color on its surface. The cloths under the interplay of the dancer’s motion with that of the wind depict waves and currents; the motion of the tree branches and leaves also has the same effect. The premises that allow living and non – living objects to interact this way are their specific qualities, expressed mathematically by ratios. The ratio of neutrons and protons on an atomic core gives us information on what kind of atom and what kind of isotope it is. This ratio is the base of the molecular structure (expressed again by a ratio). The molecular structure of the rocks, water and wind and ratios like speed of wind or the wavelength of the water waves defines their interplay. The vertical flutes on an ancient Greek column are in a specific ratio of distance between them, creating an impression of a wave. Quantum physics tells us that a particle, whose structure is defined by a ratio, is at the same time a wave in its motion. The wave pattern that emerges in Maria’s art and in nature is not accidental. Beauty and functionality are ratios we sense because of our ability to sense waves.
Living nature, the human and the rest of the ecosystem are bound and at the same time able to move within the restrictions and the potentials of the same natural laws, and in an abstract level in Maria’s artistic Universe. The same stands for the motion of the mind. The body of the dancer moves within the premises of biomechanics, gravity, nature of the ground. If her mind and the rest of her body defy these rules, she will fall. Lack of respect to the natural law means injury or death. It is irrational and thus ugly. The Pacific Ocean is full of nuclear irrationality even as we speak; there is war and famine.
The really rational is in accordance with the premises of nature. It is beautiful because it is formed under the correct harmonious ratios of nature. It is free because it knows the real limitations and potentials within this world. Less subjected to mistake, understanding everything as part of a larger whole and by that deriving its course of actions. Thus it is free by being just to towards the whole that it is into.
Many derive a feeling of freedom from Maria’s Art. They are right. But this freedom is derived from a certain awareness of limitations. Come with us to the joyful, but by no means less painful and demanding journey of rediscovering the truth in each of us and beyond us.