Adrian Ghiman

In the Belly of the Beast by Adrian Ghiman

The present research investigates, through an artistic and socio-politically point of view, the finitude theme, the human behaviour in different conditions of stress and the crowded urban places from the beginning of medieval era until present, by analysing the graphic representations. The works investigate human’s perception regarding the death subject and the semblance of this misfortune with disappearance, terror, dehumanisation and sorrow. I have enriched the subject by expressing strong beliefs on this current matter, both through theoretical study and one of personal creative act. I adore a morbid beauty highlighted in the physical decadence, the malady irrupted in diaphanous images and therefore, everything is originating in the aesthetics of disgust. The references in my work originate in different sources, mainly photography, which were the artistic medium to express various maladies, catastrophes that threatened humankind.

"A great inspiration for me are the monochrome imagery of the medieval manuscripts empowered and refined by a vibrating fluid line oozing with drama."

The study begins from a series of photos which are usually absurd or from disasters or accidents to describe a work which expresses an obscure period built upon pillars of brutality, violence and torture, a historical period in which war and hunger were inevitable. The temporary nature of existence has formed the consciousness on the funeral ceremonial by creating works of art which contain anamorphic and hidden symbols of fatality. A great inspiration for me are the monochrome imagery of the medieval manuscripts empowered and refined by a vibrating fluid line oozing with drama. Black and white on the same surface reminds me about the begging of written press where the images have a special power to seduce the eye and give them a intensity that sends to disaster. Regardless the medium used, we manage to uncover a universe that holds within frightening entities, a bestiary that forms a strong bond between image and writing. Many artists and writers were inspired by the catastrophe that hit mankind, one that spread over decades in many forms, each being marked by a macabre engagement. This imagery held inspiration even in contemporary era, that took it’s core from the past.

Drawing gets a significant number of followers because of the honesty that resides in expression which transforms it in a thought extension. “By the pure possibility of the impossible”, I place in an obvious example, spaces along time served “unequivocally and definitively end of our existence”. Art is expressed by the characteristic swing between aggression and playfulness which resides in the fascination for death. The viewer feeds his craving for a repugnance of evil by experiencing different ways of artistic statement. This remarkable medium of visual manifestation creates parables with powerful significance that allows the imaginary world to intertwine with imminent ending. The artist forges himself a personal graphic archive from which he plucks images as reference, a practise that becomes an important piece of the puzzle. Drawing reveals a whole new universe where visual overlapping is defined by depicting the inward space to an introspective inquiry.

"The viewer feeds his craving for a repugnance of evil by experiencing different ways of artistic statement."

The picture’s energy becomes a tool used to dissect the daily routine with lines oscillating between static and dynamic state upon the working surface. Transforming the intimacy into monumental is sustained by an argument of individuality. Death is being represented ambiguous by analysing the obsessive speech among black and white. The obvious destruction of lives outlines the ending’s portrait who maims calling the heady, strutting disaster and revealing the human’s impotence regarding fatality. 

My guidance is the passion for drawing and the artistic drawn for the grotesque and macabre, beliefs that go to the conclusion that death and my visual language couldn’t exist one without the other. The deceiving simplicity of the drawing and the bitter sweet taste that lingers when the end is near are holding the whole existence in tension. Death is a gesture, drawing is a gesture, whatever comes in-between stands as relative.