Edi Apostu Critique by Timothy Warrington

edi apostu critique art artist timothy warringtonRomanian Doctor of Philosophy, Edi Apostu, is the founder of the academic artistic technique of ‘Holotropic Art’. By embarking upon a pilgrimage of deep and profound self exploration, Apostu reaches a cerebral state; through the touch of brush to canvas he relates the inferred sacred messages of the preternatural world to an inexhaustible audience with opuses able to capture the ethereal qualities of Giacomo Balla’s compositional elements and the optical nature of Victor Vasarely’s creations. The mesmerising solace Apostu finds in, what he describes as, an ultimate body of consciousness is communicated to a wider congregation through bold and intense compositions that possess limitless interpretations and strongly relate to the artist’s erudite practice of Zen meditation and transpersonal journeys, which enable his union with the external realm.
Apostu’s introspective philosophical thought is fundamentally aligned with the Expressionist action painters, particularly Jackson Pollock, which is demonstrable through the instantaneous and internal nature of their processes. Apostu’s artworks respond to an alternate sense of empirical awareness that connects all life; by visually representing this narrative Aposu proffers the viewer with a rare opportunity to engage with this extrapolated perspective. Apostu’s works are utterly transcendent in their ability to propel the viewer into an otherwise seemingly sacrosanct dimension.
Through a deep analysis of Apostu’s ouvre, it is possible to denote analogous elements with Fernand Léger and Wassily Kandinsky, when considering the zealous interactions of forms and hues in their works, which indicate the interweaving layers of life and convey primordial details of an eternal narrative. The complex detail and relationships between these aspects of Apostu’s abstractions further the viewer’s postulation of a collective sentience, as each nuanced element impacts the next in a convergent synergy.
When observing the symbolic forms within Apostu’s magnificent ‘Spiral of Time. 8207’ the academic distortion of shape gives the impression of fervent activity and intertwined personal histories. Through this acknowledgment, an intrinsic assimilation with Futurists such as Gino Severini and Umberto Boccioni can be surmised, especially when considering the relationship between colour and movement in their works. Apostu connects the viewer to a perceived external body of consciousness via an abundance of intense and contrasting colour, which is also reminiscent of Ad Reinhardt and Robert Deluanay in their expressions of the passionate diversities of life; indeed, Apostu’s ‘Spiral of Time. 8207’ is said to contain 8207 heterogeneous shades, which proffer the viewer with a unique visual experience that translates the artist’s innate viewpoint.
The intellectual incorporation of the spiral suggests the cyclical resonance of time as the shadow cast upon the composition from the spiral itself implies an omnipresent force. This firm expression of the artist’s personal and spiritual perspective is concordant with Joan Miro who shares Apostu’s proclivity to embody individual thought, global observations and celestial speculations within each masterpiece.
Apostu’s refined and transformative works stimulate an intellectually and emotionally fulfilling journey in the viewer, as the artist seeks to expose the observer to an uncharted and enlightening aspect of the universe. His pieces contain the vehemence of Lee Krasner, while maintaining an idiosyncratically unique sentiment akin to storytelling, as he expertly transposes his distinctive experience and vitality to the audience. 
Considering Apostu’s metaphysical approach to line and shape, elements of Optical Art can be inferred, which aligns the artist with Yaacov Agam; certainly both artists manipulate the viewer’s experience of the visual world with the fervent intention of distorting one’s perspective and encouraging them to embrace a higher, undetectable realm. By integrating Mysticism into his artistic process, Apostu’s ascendant opuses eloquently reflect the cosmic message that he professes to have obtained through meditation and introspection, and exquisitely demonstrate the communicative powers of art with graceful execution.