The exhibition presents a series of paintings made after a tapestry by artist Ana Lupaș, work that has gradually degraded over time, and later recreated by the artist herself. The artist's desire was to entrust the tapestry with a person to recreate a work starting from it, thus perpetuating the art process and its result. Through this artistic instruction, the original works become new objects of art, continue to exist outside the incidence of time, and respectively of disappearance, through a new form of archiving and through the continuous appeal to possible recreation processes.
The fragment below represents an extract from the personal text written by Gheorghe Ilea in October 19, 2020.
„Returning to the first tapestry, what was left of it. The pieces of wool were removed and only the vertical lines remained, the strings representing the weave. This work has two more lateral parts, unequal, like two wings, made of another material; they have a dark grey colour, and when opened, all three pieces are about 5.5 meters long. What I saw from the first work, after "cleaning", were only two large photos, one was 83/130 cm. I liked them from the beginning, there was something abstract in them, only vertical lines, they were converging, were moving away, were overlapping; they kept the traces of a specific history. The work no longer exists now, only the original structure remains, but used. It has certain bends, some strings are broken, others have traces of paint. The association with the human life is obvious. Each of us started with certain primordial data in life. I lived it, and when the soul returns to where it left off, it shows the traces of its journey through life, with good and bad. The photos also included some of the side wings. They looked good and I thought of catching them in the painting as well. I wanted to do it in life size; I counted and the size of 160/255 cm resulted. I only painted the lines on the white background of the canvas, nothing else mattered, it was a moment of truth. The photo had in the center, slightly to the right, an image that looked like a portrait, maybe there was something on the wall onto which it was photographed. I think that I asked her once about this, I don't know if, or what the answer was, so I let it see his life. In some of the works I painted it, in others not, because four more paintings followed these photos. After all, I had a photo in front of me; the background was light bluish grey, the lines were brown, and the sides were dark gray, and everything bound on a cardboard in patches with tape. It looked good and I painted it as it was, taped. Then another work, where the weave seemed to be a shroud, an epitaph, an <air>. The tapestry died, but was reborn in the painting.”
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