Sebastian Moldovan

Sebastian Moldovan

"I grew up knowing the extremely simple rural life and having genuine appreciation for all that it means, and genuine curiosity about everything else. I have never had a singular interest but always a combination of interests - and observed and used the relations between the different aspects of those interests. I felt the drive to bring forth that what is not, to name things that do not yet exist, not hesitating to dissect myself in search of the self-standing truth. I appreciate logic and intuition as an infallible set of tools. My artistic existence is material, and at many times purely contextual, therefore my practice is allowed to change in dramatic ways.

 As artistic media, I mainly use video and site-specific installation due to their transient character, and capacity to adapt to a given environment. I had started to work with the idea of plant life in 2007, while being in a residency at Casino de Luxembourg; the residency's main focus was drawing, and I had to populate a wall inside the exhibition space with a large-scale drawing. The pressure of realizing such a strong drawing was too much for me, as I had been accustomed to working on paper with fine lines. The context determined me to draw a beanstalk, resembling the one in the story about Jack and the Beanstalk that extended over the wall. Ever since that moment, I had been growing bean seeds in my own studio, and planted them in exhibition spaces, or in the garden of the places I had resided in the past years. The interest in beans transformed in an interest towards the representativity of gardens as tools for interaction, memory, and direct experience. My small gardens would often interrupt the monotony of an institution or would determine the reconstruction of a certain space. In the same time, the beanstalks transformed themselves into sticks - walking sticks than could sustain a person, as well as a situation. The walking sticks became assets in the exhibitions I was invited in, waiting for their owner. The walking sticks had transformed themselves in props that individually exist in the basements of the spaces where I exhibited, discussing the possibilities present in each plagued area. From a purely artistic perspective, the prop represented art at the edge (of art itself or of myself). It was also an aspect of decentralization, referring to that part of the art scene that this work supported: flanks, neighborhoods, the initiatives of young minds.”

 

Sebastian Moldovan

2015 Sebastian Moldovan / /and/ you never know what's off
2017 Sebastian Moldovan / The Uncanny Within