SERGIU TOMA (né en 1987)
Oil on canvas
Signed, titled and dated on the reverse
78 3/4 x 94 1/2 in.

SERGIU TOMA (né en 1987)
Huile sur toile
Signée, titrée et datée au dos
200 x 240 cm

  • Les scènes presque “banales” de Sergiu Toma semblent telles des réminiscences de rêves où le point de vue du spectateur devient partie intégrante de l’œuvre. Il s’en dégage une atmosphère nostalgique et mystérieuse ; les objets familiers prennent un sens symbolique et les formes non humaines sont utilisés comme des objets de déplacement afin d’exprimer un propos qui ne pourrait l’être plus directement.
    Les titres des œuvres servent d’indications guidant le spectateur sans non plus lui donner toutes les réponses. Par exemple ici, “Travellers” : nous ne savons pas d’où viennent les personnages ni où ils vont, pas le moindre indice hormis ce qu’il nous est donné à voir. Ce que nous voyons soulève des questions sur ce que nous ne voyons pas, des questions quant au sens d’un objet, la scène, sa composition ou la raison d’être du personnage. Il n’y a aucune ironie dans tout ça, simplement l’idée de ce qui est et ce qui ne se voit pas et qui ensemble racontent une histoire. C’est comme soulever un coin du voile, le reste appartient au spectateur.
    The presumably “casual” scenes of Sergiu Toma seem interlocked with partially remembered dreams, where the beholder’s viewpoint becomes an integral part of the painting. An atmosphere of nostalgia and mystery is inherent in Sergiu’s images; familiar objects carry symbolic meanings and -non-human forms are often used as objects of displacement, to bring up issues that cannot be expressed forthrightly.
    The titles of the works often guide the viewers to understand the work themselves, but the titles do not give all the answers. For instance, in “Travellers”: we do not know where the people are coming from or where they are going, we do not have any clue and we only know what we see. What we see raises questions about what we do not see. Questions are raised about the meaning of an object, the setting, the composition, the way the “title hero” is displayed. There is no qualifying irony in the game, but the wonder about what is and what is not seen and which together tell the whole story.
    It is like lifting a corner of the veil, the rest is up to the viewer.

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October 29, 2013 7:00 PM CET
Paris, France


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