Conventional States of the Unconventional Man - acrylic&liner on paper
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
I M A G I N A R I U M
acrylic on cardboard
170/130 cm
sold
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
U B I C U U
liner on paper
30/42 cm
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
T H O U G H T S on this L I F E
„𝑂𝑢𝑟 𝑙𝑖𝑓𝑒 𝑖𝑠 𝑤ℎ𝑎𝑡 𝑜𝑢𝑟 𝑡ℎ𝑜𝑢𝑔ℎ𝑡𝑠 𝑚𝑎𝑘𝑒 𝑖𝑡. ”
𝑀𝑎𝑟𝑐𝑢𝑠 𝐴𝑢𝑟𝑒𝑙𝑖𝑢𝑠
acrylic&liner on paper
30/42 cm
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
T H E W I Z A R D
"True courage is in facing danger when you are afraid"
L. Frank Baum
acrylic&liner on paper
30/42 cm
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
c
"For where all love is, the speaking is unnecessary"
Diana Gabaldon
acrylic&liner on paper
30/42 cm
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
S O U L O F T R E E
Take your time!
liner on paper
30/42 cm
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
T H E E M P L O Y E R 1
Toxic leaders speak but never listen
acrylic&liner on paper
30/42 cm
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
T H E E M P L O Y E R 2
Toxic leaders never admit to being wrong
liner on paper
30/42 cm
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
M O N T E F E L T R O
“We live in a world of constant news, made ephemeral and irrelevant by its continuous flow.”
Marcello Simonetta
Marcello Simonetta
collage&liner on paper
30/42 cm
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
B A T T I S T A S F O R Z A
“I’ve always had a fear of being small and ordinary. “How can I just have this one life?”
Meg Wolitzer
Meg Wolitzer
collage&liner on paper
30/42 cm
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
M A N in the R E D T U R B A N
“Tangible piece of luminous matter, they confront us with a reconstruction rather than a mere representation of the visible world”
Jan van Eyck
Jan van Eyck
collage&liner on paper
30/42 cm
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
B O T H O F U S
"A flow of words is a sure sign of duplicity"
Honore De Balzac
Honore De Balzac
acrylic on canvas
60/60 cm
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
S P R I N G(me)
"A life without love is like a year without spring."
Octavian Paler
Octavian Paler
liner on paper
30/42 cm
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
S L E E P I N G B E A U T Y
They say if you DREAM a thing more that once, it's sure to come true
Sleeping Beauty
Sleeping Beauty
acrylic&liner on paper
30/42 cm
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
F R E E D O M
Freedom gives you the power to fly
liner on paper
30/42 cm
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
B R I D G E to my M I N D
A picture is nothing but a bridge between the soul of the artist and that of the spectator
Eugene Delacroix
liner on paper
42/30 cm
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
I S T O P L O V I N G Y O U
"Weak people revenge. Strong people forgive. Intelligent People Ignore."
Albert Einstein
liner on paper
30/42 cm
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
D I H O T O M I E
"Dacă judeci un peşte după abilitatea sa de a se căţăra în copac, el va trăi toată viaţa cu impresia că e un prost"
Albert Einstein
liner on paper
30/42 cm
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
B E H I N D the E Y E S
“I like you; your eyes are full of language.”
Anne Sexton
liner on paper
30/42 cm
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
F L A M I N G O D R E A M S
Be flamazing!
liner on paper
30/42 cm
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
M Y W O R L D
I want to live my life, not record it.
Jackie Kennedy
liner on paper
30/42 cm
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
T H E S M O K E R
"Love is a smoke made with the fume of sighs."
William Shakespeare
acrylic&liner on paper
30/42 cm
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
S O U N D(me)
"Without music, life would be a mistake"
Friedrich Nietzsche
liner on paper
21/30 cm
Conventional States of the Unconventional Man
The role of the mask is to hide or protect. The mask can hide both identity, flaws, qualities or feelings. It can protect from thermal, mechanical, chemical or pathogenic agents. By excellence, the mask reverses the data of problems, whether it's protection or play. In the case of utilitarian or playful masks, everything hangs around morphological elements, from texture to shape. It's just that not all masks have material support, and not all of them are concrete. Behavioural masks have the same functions as material ones, but are much more difficult to interpret, plus their possible volatile character. In the project, Alina Codin formulates artistic interrogations about the relationships between the inside and the outside of masks, based on the idea that all elements of the world are interconnected. Thus, external problems, which directly or indirectly determine the interior, are externalised, more or less carnivalesque, through masks. Then, the mask can be the smile, the set of physiognomic traits configured on the basis of feelings and attitudes, or that something behind which we are physically; burka, surgical mask or diver's hood. The artist is interested in masks in a carnivalesque context, in the sense of the upside-down world, but in a non dystopian way, rather in a curative one. Appearances, juxtaposes, joining, coexistence of opposites, consonance and dissonance are harnessed by Alina in a purely visual and metaphorical context. The premise is that, paying attention to wearing our own masks, we are also paying attention to the masks of those around us. Transposed into artefact's, stripped entirely of functional attributes, her masks can delight the eye, stimulate imagination, cheer up and lead to analysis. Mihai Plămădeală, art curator
H I S T O R Y of D U P L I C I T Y
"A flow of words is a sure sign of duplicity."
Honore de Balzac
liner on paper
21/30 cm
