Cristina Sandor

Mexico
Tel.: 0040745-127179
Email: cristina.sandor@gmail.com
Site: http://cristinasandor.blogspot.com/

CV breve

Cristina Sandor, born 15th of December 1978, Arad, Romania.
Studies - 1997-2002 Faculty of Visual Art, University of West Timisoara, section of graphics
2002 -2003 Postgraduate Studies, University of West Timisoara section of graphics, from 2002 curator of decorative art at the Art Museum Arad
In present she lives and works in Mexico

Su expresión

Cristina Sandor: "La expresión pura que atraviesa la naturaleza para descubrir el andamiaje que sostiene la belleza de lo visible, una visión de las fuerzas primigenias que originan la vida; un gesto celeste que anima lo terrestre, radiografía de lo evidente. Esto y muchas cosas más es lo que me sugiere la gráfica de Cristina Sandor.
El impulso espontáneo que genera la idea y que se expresa en el plano aprovechando el recurso más simple y poderoso: la línea, elemento clave de la bidimensionalidad que explorado a fondo nos demuestra su vigencia como medio comunicante.
Concentrada sobre la marca de la plumilla y del pincel, eminentemente antinarrrativa, la obra de Cristina Sandor recupera la escencia del lenguaje gráfico y nos lo ofrece inagotable, autónomo, puro y nos recuerda que sabe decir mucho sin tener que decir “nada”.
Composiciones variadas, que aunque puedan resultar algunas caóticas de entrada, esconden una estructura inteligente que nos avisa de una sólida formación académica. Ejecución sin reflexión exagerada, espontánea, diálogo gráfico a manera de método psicoanalítico, regresivo, automático, conjurando el reclamo musical de Kandinsky y el frenesí pictórico de Pollock en complicidad con el paradigma estético oriental y la nostalgia del misterioso y fascinante contexto rumano. La horizontalidad como única referencia clara del deseo de mantener el contacto con la objetividad y que parece esconder el deseo de obtener cimentación en la embriaguez expresiva quizá como una confesión de su amor a la naturaleza; gráfica evocativa de escenarios cósmicos, profundidades marinas y atmósferas tempestuosas, podría decirse “arte contemplativo” como el Klee místico, ya que de frente al mundo se experimenta lo trascendente, el origen, lo invisible, lo real, así como lo intuyó Leonardo, no en el plano pictórico sino detrás de la apariencia, en la psique del hombre."
Carlos Cárdenas

English - Short notes

( by Ciprian Radovan)
The adjoining of Cristina Sandor in the group of artists belonging to the 2009 stage of the project Xylography-Matrix is certainly welcomed. It`s justified as natural motivation at the development of a dynamic and generous framework program that proposed the progressive inclusion of some valuable members and the constitution of a prestigious group composed by young visual artists formed at the Art Faculty from Timisoara, respectively graphic artists with doubtless predisposition for the relief printing and with artistic aptitudes of firmly based ensemble. In essence, descended from the deepened consistence stylistic matrix in academic context and developed then on individual coordinates, they are now in full affirmation, as the particular case of Cristina Sandor (relative recently settled down in Mexico, young artist affirmed and appreciated with prizes, in the beginning home and then abroad) being able to actively involve and with an unconventional discernment, but well individualized at the movements of the ideas of the visual contemporary arts.
Through the practice of relief printing, as the linocut, Cristina Sandor followed a personal defined program with consistence in which starting from the date of the real in essence the living complexity of the nature makes the exploratory transition towards essences and programmatic metamorphosis of the “impression” into “expression”. The serial of images from the cycle Screens, taken as the most significant example from her recent work compatible with the group`s project, includes besides the passion rather technical of superposition of the impressions and the creation of unprecedented interferences, systemic alternatives, quasi-serial, associated with an authentic spiritual-reflexive attitude, reported transfigured and flexible at the rich suggestions of a nature charged with structural beauty, contemplatively examined, respectively subtly transposed with a singularized gesture fluency in emblematic expressive finalizes.

Comment by the artist

The engraving is a true translation, that is to say, the art of the transposition of an idea from one art to another. At this level of the transcription of the representation, thanks to the medium of the black, gray and white, a transposition is creadted related to the materiality of the engraving itself, a seduction of the aspect of the material exerted by the tecnique and given by the quality of the paper, the relieves of the plates, the inks. Like this, under the conceptual aspect, the reconfiguration of the real world is tranposed in the appearence of the transition from the external things to the internal world of the affective state and contrarily, the transposition of a feeling to the fugitive, esponaneous realism. In this background, I consider that the line (like one of the principal elements of the plasticity language) is the one that generates all the forms of my works. I think that in printmaking, the relief printing gives me the adecvate answers to reproduce the effort of a beautiful and rigourous achievement of a pure line, emphasizeing its symbolic expression that overlaps the semantics. Not only that it exists in itself, but it configurates its environment confering an armature, a pattern which shows an infinity of diversity of blocks of space that compose an intercalate universe. This is why, the superposition of the plates of linocut give me a certain liberty of expression and a plasticity that is given by the dual structures putting in contrast the spontaneity with the rigour of the tecnique and the possibility of aproaching or removing the forms, establishing or dynemizing, lighting or darkening, concentrating or dispersing them. The valoric diversity given by the lines through thicknesses, dirrections, attachments create rhythms and expresivity, a texture of a dialogue that reunite two levels of the image: the perception and the reflection. Like the transition from the white to the black, the ductibility of the engraved line transform (through the appreciable performances of the hand chisels and the preparation of the plate) in lay-outs of a generous gestualism and the care for a detailed drawing, capable to suggest varied forms. So, through the line I construct a space, engaged in a continuous search of another inner aspect of nature as a transcendent reality, removing the formal reality or using it to receive other meanings depicting a “search of the centre”. Through the displacing of the accent of the “impression” to the “expression”, the values and a division of the inner universe surprise the expression of the desire to create the image beyond the image, the reverse of a picture/frame/window, the reflection of the abstraction of the visible reality.
Cristina Sandor, 2009