Sebastian Moldovan / The Uncanny Within
Among the dreams of man there is a beautiful one: to suppress the night”. This long ago articulated apothegm encloses an absolute true, that of the man’s fundamental need to exercise dominion towards nature. As an expression of control, this transformative action has an implicit dose of violence. It is, in consequence, an ‘opus contra naturam’. In our current ways of life, natural state of things is perceived as alienating. What used to be a primeval and organized environment, became hostile and deeply entropic, especially after the hand of man. When this second nature is engendered, the phenomenon of uncanny arises: an ordinary circumstance is suddenly shown strange, familiar while mysterious, as a reminiscent of a forgotten past, still vivid in some corner of the memory but to which we no longer have access. The uncanny can be expressed in many levels of the symbolic, but always emanates from within ourselves.
The compendium of works in the present exhibition inquiries about this experience. Sebastian Moldovan seeks in the dimension of nature revelations and certainties. By recontextualizing everyday objects, materials or phenomena, we are faced with the uncanny and forced to take critical distance from our own circumstances as human beings: we are then warned about our truly fragile position in the world. Sebastian emphasizes and replicates irreversible processes (molecular fusion), the beauty that we take for granted and may go unnoticed (water reflections), the comforting signs of tranquility (rainbow); all by resorting to the creative field that flows from the duality inherent to this chaos in equilibrium. The dialectic stablished with the subject is basically genuine, organic, given also the bond of the artist with nature in its wildest state. The poet once said that nature is a sphere with the center in everything and the circumference nowhere. Therefore, Sebastian’s attempt to measure nature is only possible to the extent that it is measurable. The achievement lies in that he recognizes in advance the impossibility implicit in the act.