Bogdan Dumitrica’s series Fearful Symmetries is an inviting collection of oil paintings renditions on paper of natural organic remains. Exhibiting at Los Angeles Artcore Center for the Arts, his series consists of fifteen 44”x 30” artworks. Dumitrica received his Master of Fine Arts degree from California State University, Los Angeles in 2001. In 1995 he was awarded the Art Matters Foundation Grant. He has exhibited at international art biennials in Egypt and Korea with his ceramic works. His art has traveled across the United States and Europe exhibiting his creative endeavors.
An admirer of classical contemporary music and literature, Dumitrica draws inspiration for his most recent artwork from composer John C. Adams’s 1988 animated and expressive musical with the same title of the exhibition; Fearful Symmetries.
Pinned directly to the exhibiting walls with no interlocutor in between, Dumitrica’s organic depictions of decomposed cactus leaves, branches and fibrous natural objects spatially navigate between negative space and the projection of weightlessness.The void surrounding the organic images allow him to develop a three-dimensional illusion on a two dimensional flat plain. His chosen color scheme are desert warm subtle off-whites, ochre, light greens and grays with gentle strokes of amber. The minuscule details of the crevasses and contours enhance the aging state of each painted. The journey of decay and weathering are for Dumitrica, the documentation of accumulated time recycling itself through an organic process.
In Dumitrica’s work, the organic found objects have acquired a binary connection with the inorganic manmade objects. His Pistolero series one through five, paintings of dried wood branches can be seen as inorganic renditions of antique pistols. A second painting of a dried out, long extensive curled leaf simulates a propeller. The same can be said of a decomposing desert flower titled Stellar Regions that resembles the mapping of a star constellation.
With Egyptian Forms Dumitrica captures the beautiful cylindrical forms of Egyptian rural bird houses build of mud. The use of natural elements in the construction of the birdhouses releases, at first sight, a mystery and wonder. There is a scene of pleasure in viewing the birdhouses in a most natural state.
The idea of appearing, disappearing and recycling reveal a process of existence in a world that is constantly fusing and un-fusing. His low profile double play with organic and inorganic materials and forms unveil a connection between cultural symbols and daily use objects. Time is of the essence in this series, it is the main character that gives identity and meaning to his work. Dumitrica brings out the beauty in decay. He also poses a question between finite and the infinite. The endlessness of time dissipates with coming of erosion and the cycles of all the weathering elements.
The sense of suspension in his paintings can be compared to that our planet suspended in a universe constantly remaking itself, while the negative space questions natural weathering vs. the unnatural and manmade decomposing ways of destruction.
John C, Adams’s composition Fearful Symmetries is a revealing musical that ties in very well with Dumitrica’s paintings. Both question life. Both reveal the mechanical material objects and the impact it has on our daily lives. Dumitrica exposes our time as a minute moment of existence with the hopes it can reflect a more harmonic revelation of what we produce and what we become.