Stefanoiu Vasile — Contemporary Art Curator Magazine

Stefanoiu Vasile

In the pantheon of contemporary sculpture, the works of Stefanoiu Vasile stand as a testament to the enduring dialogue between the classical and the modern, the static and the dynamic, and the corporeal and the abstract. Vasile’s sculptures are not mere representations; they are conversations carved in stone and mixed media, bridging myths of old with the digital pulse of the new era.

Vasile’s oeuvre holds a mirror to the old masters, invoking the grandeur of Greek mythology while firmly rooting his sculptures in the present. His works are reminiscent of the emotive power of Rodin, the innovative spirit of Brancusi, and the narrative depth of Greek statuary. Yet, his language is distinctly contemporary, engaging with themes of digitalization, modernity, and the changing landscape of human emotion and interaction. In the broader context of art history, Vasile's sculptures are a bridge between the past and the present. They echo the timeless questions posed by the old masters while responding to the unique challenges and opportunities of our digital age. Stefanoiu Vasile's works emerge as profound dialogues between ancient mythology and contemporary narratives, challenging the boundaries of time and medium. Vasile's sculptures are not merely objects of aesthetic admiration but are narratives carved in stone, engaging in a silent conversation with the viewer.

New Aphrodite (2023) is a marble sculpture that embodies a modern reinterpretation of the classical figure of Aphrodite. However, Vasile's Aphrodite is not the goddess of beauty as traditionally depicted; she is the avatar of the contemporary human, engaged in a perpetual dance with technology. Vasile's "New Aphrodite" is a striking commentary on the digital age's imprint on human behavior, contrasted with the grace of antiquity. Here, the goddess of love and beauty is reimagined, embodying the tension between the traditional passivity of marble forms and the dynamism of modern technology. The abandoned lyre, a symbol of classical art and music, lies in the shadow of the mobile phone, the modern trigger of dynamism and virtual engagement. This piece echoes the Hellenistic sculptures’ fluidity, yet it speaks in the disruptive syntax of the digital era. It's as if Pygmalion's Galatea has been awoken not by a kiss but by the ping of a notification, a poignant reflection on whether this evolution is a step forward or a regressive detachment from cultural contemplation. The lyre, once a symbol of divine music and harmony, lies abandoned, replaced by the mobile phone, a totem of today's dynamism and virtual interaction. Vasile captures the face’s physiognomy in a sequence of movements, akin to frames in a film strip, evoking a fluidity that resonates with the digital acceleration of our times. His Aphrodite is not static; she moves, she changes, she interacts. This sculpture engages with a critical question of our times: as we embrace digital acceleration, do we evolve or regress?

The "Arachne Metamorphosis" is another powerful sculpture by Vasile, which masterfully blends the classical legend with a modern interpretation. Unlike the static depictions of Arachne from the old masters, Vasile captures her transformation in mid-flight, embodying the very moment of change from human to spider. It's a dynamic portrayal that seems to ripple with the same energy found in Bernini's baroque masterpieces, yet speaks to the modern struggle between creativity and authority. Vasile’s Arachne is not punished but empowered, her metamorphosis a symbol of artistic rebellion and resilience. In Arachne Metamorphosis (2021), Vasile reimagines the ancient Greek myth, not through the static depiction of Arachne's transformation into a spider, but rather as a dynamic process. The mixed-media sculpture captures the fluidity of change, reflecting on the nature of art itself. Where traditional depictions focus on the aftermath or the beginning of Arachne's story, Vasile's piece is caught in the act of becoming, a perpetual motion that mirrors the very essence of creativity challenging authority.

Orpheus and Eurydice (2021) and Orpheus alone (2022) are marble sculptures that poignantly capture the tragic love story of Orpheus and Eurydice. Vasile sculpts Eurydice in negative form, a ghostly presence that speaks to the elusive nature of life and the enduring pain of loss. Orpheus is depicted in his isolation, his music a lament that draws nature itself to him. These works are a meditation on love, loss, and the solace that can be found in the act of creation.

The Prayer (2022), a stone piece, reduces the human figure to its most essential form, focusing on the act of prayer as a timeless and universal gesture of faith and humility. The bowed head and folded hands transcend individual identity, embodying a spiritual essence that technology cannot replicate.

In Metamorphosis - Pygmalion & Galateea, (2020), Vasile captures the pivotal moment of transformation with a marble sculpture that is both a tribute to and a reinvention of the classical myth. The metamorphosis of Galatea from stone to life is rendered in a series of negative spaces that suggest motion and emergence. The hand of Aphrodite, carved at the top, represents the divine touch that animates art, infusing it with a breath of life. This piece reflects on the enduring search for beauty and the transformative power of love and art.

Vasile's "Pygmalion & Galateea" is a homage to the transformative power of love and art. The metamorphosis of Galatea from marble to flesh is depicted with a fluidity that suggests both motion and emotion, capturing the fleeting moment of divine intervention. This sculpture could be seen as a dialogue with the Renaissance masters, who themselves were deeply inspired by the myths of Ovid. Yet, the work is undeniably contemporary, a commentary on the impermanence of beauty and the eternal nature of artistic creation.

Icarus - the dream of freedom (2021) is a mixed media sculpture that embodies the aspiration and hubris of human endeavor. Vasile's Icarus is not just a figure of myth but a metaphor for the modern dreamer, reaching for heights but bound to the earth. The delicate wings, crafted with a dreamlike quality, are a poignant reminder of the fragility of ambition.

"Orpheus and Eurydice," a tale of love and loss, is rendered with a delicate touch, with Eurydice’s form carved in negative space, emphasizing her ephemeral nature. Vasile's interpretation speaks to the old masters' fascination with the afterlife, yet his use of negative space is distinctly modern, suggesting that sometimes absence speaks louder than presence. It’s a visual echo of Rodin's expressive use of incomplete forms, capturing emotion in what is not there as much as what is.

In "Orpheus alone," the solitude of the Thracian poet is almost palpable. The figure, isolated, surrounded by the trees that his music enchanted, reflects the loneliness that can be felt even in the most crowded of contemporary lives. It’s a piece that resonates with the quiet despair in Michelangelo’s unfinished sculptures, where the incomplete figures seem trapped within the marble, yearning for completion.

"Prayer" is a sculpture that transcends time, representing the universal and timeless act of seeking connection with the divine. The indistinct face and the bowed head are reminiscent of the faceless figures of modernist sculptors like Brancusi, who sought to capture the essence of humanity rather than its realistic portrayal. Vasile’s sculpture is an intercession between the viewer and the heavens, a bridge between the earthly and the divine, free from the constraints of identity and grounded in the humility of the human spirit.

Stefanoiu Vasile's sculptures are thus a bridge between epochs, a synthesis of classical mythology and modern sensibilities. His works compel us to ponder the perennial questions of art and life, engaging with the legends of old while firmly placing us in the narrative of today. His sculptures do not merely sit in space; they command it, inviting an introspection that is both ancient and urgently contemporary. Stefanoiu Vasile's oeuvre stands as a testament to the enduring power of myth, narrative, and the human form in contemporary sculpture. His work defies the transitory trends of the art world, instead forging a timeless connection between the viewer and the ancient world through the prism of current realities. Vasile's sculptures occupy a unique niche within contemporary art, one that pays homage to the technical mastery and thematic depth of the old masters while simultaneously engaging with the challenges and dichotomies of the modern era. His nuanced approach to form and content places him among those contemporary artists who seek to reconcile the digital age's fast-paced innovation with the contemplative rhythm of classical art. Vasile's sculptures serve not only as a bridge but also as a mirror, reflecting our current society's complexities, its technological obsessions, and its yearning for a connection to something more profound than the ephemeral digital experience.

By reintroducing the myths of Greek antiquity into modern dialogue, Vasile reminds us that the questions posed by these stories remain relevant. In an era where the digital seems to overshadow the physical, his work asserts the irreplaceable value of the tangible and the tactile. Vasile's place in contemporary art is that of a mediator between the past and the present, challenging the viewer to find a balance between technological advancement and the humanistic values represented by classical art.

In the contemporary scene, often characterized by abstract and conceptual works, Vasile's figurative sculptures stand out for their emotive clarity and their commitment to craftsmanship. His work suggests that the future of sculpture may indeed lie in its ability to draw from the wellspring of the past while speaking to the present's sensibilities. Thus, Vasile's placement within contemporary art is both as a guardian of tradition and as a pioneer, carving out a space where the echoes of history and the cadence of now coalesce into a harmonious symphony of form.

By Marta Puig

Editor Contemporary Art Curator Magazine