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Flavia Pitis Main Profile Image

Flavia Pitis

Brasov, Romania

Painting • Born in Brasov, Romania • Studied at National University of Fine Arts, Bucharest

Published  03/04/2015   |   Updated  05/01/2016

''Origi­nates in the perpetual metamorphosis of identity''

Since the first contact with Flavia’s works, the upholder is surprised by a strange, disquieting and almost unbearable poetry of the image.

The portrait, the hard core of Flavia’s creation, origi­nates in the perpetual metamorphosis of identity. As each emotion / mental experience is visible, the possibility of any dissimulation is practically annihilated. Matter changes according to its own laws – it becomes malleable by...

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Since the first contact with Flavia’s works, the upholder is surprised by a strange, disquieting and almost unbearable poetry of the image.

The portrait, the hard core of Flavia’s creation, origi­nates in the perpetual metamorphosis of identity. As each emotion / mental experience is visible, the possibility of any dissimulation is practically annihilated. Matter changes according to its own laws – it becomes malleable by reason of its intrinsic intelligence. The artist proposes a model of reality able to increase individual’s responsibility towards his / her own feelings and thoughts, which, turning concrete, modify different parts of the body. The ubiquitous source of inspiration develops from personal experience and memory to a daily reality assigned according to artist’s own decisions and options. The unusual juxtapositions of apparently dis­parate elements, the pars pro toto method, through which a hand is invested with the expressivity of the whole implicit body, the distorted mirroring – all these create a stunning fluid atmosphere. The superposed shades and images often defy one’s logic, as they generate ambivalence and visual discomfort by activating intuition and challenging a non-cli­cheic interpretation. The universe of ideas is impregnated by fragile-equilibrium shapes, while the large, ostentatious and self-referential gestures surprise the “shifted” portrait of the doubt-tormented spirit.

At perception level, spectator’s set of experiences is confronted with the artist’s, and therefore each work is able to generate multiple reading possibilities.

Though space and time are not specified, each work recalls at least one eternally human and universally valid aspect. In Flavia Pitiș’ case, the recourse to the figurative favours parallel interpretations which are never geographi­cally or temporally restricted.

Text by Madalina Mirea


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