Location: Romania
My practice operates through observation and critical distance, approaching art as a method rather than a finished object. I search for beauty within perennity and decay, working with materials and forms marked by time, use, and transformation. Light and its absence play a central role, shaping presence, darkness, and perception. Void and silence function as active states, creating space for slowness, attention, and reflection, where meaning emerges through traces and gradual change.
This series of artworks refers to the metaphysical approach to space populated by a pot with flowers, a near seen like a section of a personal
temporal eternity, where the vegetative elements are transfigured into the metaphysical, transcendent .Thus, at the limit figuration, the immanents of the light becames oniric reflections and transparents, the flower shape became sphere, within which persist the traces of the pass, of the wear, the cyclicity. The series title, although apparently suggestive, is not refering to the absurdity and anguish prosaic present in Kafka's universe, but rather its starts from the idea of freezing of the personal physical time, by a simple meditative exercise of pure contemplation of the close realities transformed by the passing of time.
For me, as an artist, the still life is a perfect excuse to create a vibrant game between the idea of the volatility and the perennial of the world
that we perceive around us, and the essence of the human spirit: the conscience.
My "flowers" are subtle expressions of a meta-reality, where the viewer is invited to meditation, to exercise his spirit, to discover that energy, that forsure we all have it inside us, that resonates with the silence of the begining of begining.
“DIAPHANE LIGHT LIKE COSMIC ENERGY SUPERBE CHROMATIC STILL LIFE BY ROMANIAN MASTER OVIDIU KLOSKA”
Painting: Acrylic on Canvas.
kafkian eternity with flowers at 7 pm, signed 11.03.2016
acrylic painting on canvas stretched over wooden chassis /
painting size: 60 x 80 x 2 cm / edges are painted - ready to hang
More artworks can be view on my official website www.kloskart.com / kloska77@aol.com / phone: 0040720190320
This series of artworks refers to the metaphysical approach to space populated by a pot with flowers, a near seen like a section of a personal
temporal eternity, where the vegetative elements are transfigured into the metaphysical, transcendent .Thus, at the limit figuration, the immanents of the light becames oniric reflections and transparents, the flower shape became sphere, within which persist the traces of the pass, of the wear, the cyclicity. The series title, although apparently suggestive, is not refering to the absurdity and anguish prosaic present in Kafka's universe, but rather its starts from the idea of freezing of the personal physical time, by a simple meditative exercise of pure contemplation of the close realities transformed by the passing of time.
For me, as an artist, the still life is a perfect excuse to create a vibrant game between the idea of the volatility and the perennial of the world
that we perceive around us, and the essence of the human spirit: the conscience.
My "flowers" are subtle expressions of a meta-reality, where the viewer is invited to meditation, to exercise his spirit, to discover that energy, that forsure we all have it inside us, that resonates with the silence of the begining of begining.
Certificate of Authenticity:
Every artwork is sent with authenticity certificate that contain details about artwork, my original signature and the name of the collector on it.
Keywords: time, still life, outer space, metaphysic, oniric art, ovidiu kloska, perenity, eternity, light, meditation
Certainly at my beginnings as a visual artist, in childhood, I came into contact first with the landscape executed in classical manner.
At first I develop, I have learned the secrets, techniques, their stories. Now the artistic maturity, the figurative manner it no longer creates me the same pleasure.
My wish is at the moment to create a landscape from a mental perspective, a "Mindscape" , a visual plastic configuration different from the classic one ...
but with a starting point the a real landscape. My "forests" and "clearings" are hiding the forms, they classify a special romance, turnerian like,
the liberated energy is ethereal, subtle, delicate. A viewer admiring a painting from this series in one of my exhibitions has characterized having
something that its exudes from the glamor and the fascination of the jewelry with precious stones.
All elements of landscape plant undergoes a transfiguration that invites to solitary journeys, both in the macrocosm and in the microcosm.
Echoes of an eternal space
acrylic painting on canvas / 60 x 60 cm / signed December 2025
This painting unfolds as a field of suspension, where matter hesitates and meaning disperses into resonance. It is shaped not through assertion, but through duration—through surfaces exposed to time until they begin to echo beyond themselves. What appears muted is not silence; it is vibration slowed to the point of stillness. A perennity that does not resist change, but moves through it.
Layers accumulate as traces of passage, recalling urban skins weathered by light, air, and human absence. Pigment behaves like matter encountered in transitional spaces—walls softened by rain, concrete absorbing memory, fragments of color persisting long after their origin has dissolved. Decay is not treated as disappearance, but as transformation: a quiet opening through which another order of beauty becomes perceptible.
The surface operates as a membrane between the immediate and the immeasurable. Marks do not describe events; they register exposure. Each layer carries the residue of another, forming a dialogue between erosion and continuity, between what collapses and what endures. In this way, the material world begins to suggest something larger than itself—an echo extending outward from the finite.
Within the restrained field, moments of warmth surface briefly, like distant signals. They do not interrupt the calm; they deepen it. These fragments function as reminders that even within entropy, energy persists—circulating, migrating, never entirely extinguished. The urban and the infinite touch quietly here, without hierarchy.
There is no horizon, no fixed scale. Depth emerges through veiling, through the slow negotiation between opacity and translucence. The painting does not demand entry; it allows attunement. It meets the viewer where perception loosens, where sensation becomes expansive and time feels suspended.
Here, time is neither linear nor monumental. It drifts, settles, reverberates. The act of painting becomes an act of searching—an exploration of matter as it passes, transforms, and opens toward something enduring. What remains is not an image, but a state: a space where surfaces carry echoes, and where the eternal is sensed through change.
“The mountain whispering in the air”
The mountain whispering in the air
acrylic on canvas / 60 x 60 cm / signed and dated December 2025
There are moments when a mountain seems to forget its weight, when ancient stone loosens its hold on the earth and begins to rise—not out of defiance, but out of a quiet longing. In that suspended breath between form and dissolution, the mountain becomes a whisper, an echo of everything it has carried across centuries. The Mountain Whispering into the Air inhabits this threshold, where solidity unravels into color and color dissolves into a pulse beyond language—an inner territory I continually explore as I contemplate the subtle phenomena of erosion and transformation.
The warm, fractured reds reveal the mountain’s smoldering heart, pushing outward like embers that refuse to fade. These tones speak of pressure, fire, and countless silent midnights. For years I have observed how terramorphisms, traces of the mundane, and micro-erosions carved by time leave their imprint on matter; in them I recognize the same type of memory that pulses through this painting. Above, the air grows pale and weightless, as if the mountain’s breath were thinning into mist, allowing its spirit to drift free.
A cascade of blues and greens flows downward, carrying fragments of sky back toward the earth. They shimmer like vegetal dreams—those subtle rhythms of growth and decay I endlessly investigate, the cycles through which life continually reshapes itself. Here, movement overtakes mass, and what once felt immovable becomes fluid, surrendering to the gentlest pull of air. It is the same transformation I search for in my work: the passage from material to immaterial, from form to vibration.
Thin white streaks descend like memory passing through layers of time, lifting veils and revealing the hidden currents beneath stillness. Through them, the painting breathes—slowly, deeply, caught between remaining and becoming. Light travels these vertical traces as though searching for the mountain’s true voice. In their texture, I recognize the same fragile tension that fascinates me in natural structures: delicacy and force coexisting in a single gesture.
In the darker regions, a quiet presence takes shape—not human, yet unmistakably alive. It witnesses the mountain’s unbinding, listening as it releases its soft confession into the air. Here, color becomes thought and shadow becomes language. Nothing is accidental; everything contributes to the mountain learning to speak beyond silence. As a seeker of meaning, of subtlety, of essence, I find in this process a reflection of my own artistic search: the attempt to reveal what lies beyond the visible.
Thus, the entire work becomes a moment of ascension: a world shedding its boundaries, a whisper rising through layers of wind, a form discovering its own spirit. The mountain does not crumble and does not fade—it transforms. It lifts itself into the air, carrying centuries of murmured stories and letting them scatter like luminous dust across an unseen sky.
“Time is the most talented jeweler”
Time is the most talented jeweler
acrylic on canvas / 60 x 60 cm / signed and dated December 2025
Viewed through the lens of its title, Timpul e cel mai talentat bijutier (Time is the most talented jeweler), the work unfolds as a territory where matter and duration collaborate to generate emerging forms. The surface does not present itself as a fixed composition but as a sedimentary space in which each layer bears the traces of a continuous negotiation between gesture and transformation. The successive rotations, delicate corrections, and almost ritualistic re-engagements suggest a process in which time is not merely a witness but a co-author — a discreet agent that polishes, erodes, and reveals.
The palette of deep blues and mineral greys constructs a subaqueous, almost lithic atmosphere in which light seems filtered through dense strata of visual memory. Within this muted illumination, forms appear that evoke the organic geometry of sea shells: soft curves, timid spirals, fragments hinting at a subtle anatomy of nature. Between these structures, delicate spherical elements emerge, resembling pearls — imagined here as blue pearls, as though pigmented by the depths that shaped them. Their lightly abraded texture recalls the quiet persistence of sands that refine all things over time.
Measured warm accents function like fleeting reflections on a polished stone, activating zones of internal vibration and introducing a gentle chromatic tension. They interrupt the prevailing calm without breaking it, creating moments of acuity that guide the eye almost instinctively toward detail. The spatial organisation remains open: forms seem to reconfigure before the viewer, oscillating between appearance and withdrawal, between contour and dissolution. Depth thus becomes a perceptual phenomenon rather than a formal convention.
A discreet spiral movement near the center operates as a gravitational nucleus. It does not impose meaning but orchestrates the visual energies, offering coherence to an image that prefers suggestion to assertion. In this subtle tension between control and release, between intention and discovery, the painting acquires the aura of an artifact revealed — an object in which time has deposited not only traces but an aesthetic of its own.
Ultimately, the work stands as a compelling example of contemporary abstraction attuned to the slow, imperceptible processes of becoming. Here, time — “the most talented jeweler” — acts as a refining force, shaping not only the form but also the poetic resonance of an image that makes visible the metamorphic condition of visual creation itself.
“Echoes of an eternal space”
