An Interview with Radu Oreian

Abstract

An Interview with Radu Oreian David Riddle Watson Radu Oreian is an emerging artist from Romania who currently works in Marseilles, France. Finding inspiration from Renaissance masters, medieval manuscripts, and philosophical figures, his works create connections across time and space by folding the history of art and ideas into his pieces. His works use a variety of mediums and consistently challenge the boundaries between painting, sculpture, and drawing. Using the Braille alphabet in recent pieces, he has added another dimension to his work, addressing the physicality of communication. Most importantly, his work is communal—it is a radical attempt to bring disparate pieces together in harmony in a time when that is greatly needed. Radu Oreian's work has consistently grown in popularity as it has been shown in major art shows across the globe. Over this last year his work has been featured in prominent exhibitions such as Untitled in Miami, Art Paris, the Dallas Art Fair, and Zona Maco in Mexico City. His most recent show was a month-long residency at 1969 Gallery in New York City, which ran from 6 September until 22 October 2022. david riddle watson: Can you talk a little about how and when you started drawing and painting? When did you decide to do art professionally? radu oreian: I started drawing after I suffered a bad injury in a soccer game and I was stuck in bed for a couple of weeks with my knee in a cast. At that time I was playing at a professional level, and I had no intention of becoming an artist, but somehow one drawing led to another and slowly the idea of changing my life crept in. I guess it's the cliché of the bad accident that became the best thing that happened to me, from a professional perspective. [End Page 160] drw: Where did you study? Can you speak a little to the experience at the Cluj School—I know there is some history there. ro: I studied two years at the University of Arts and Design from Cluj, in Transylvania, and I spent another two years studying at the National Academy of Art from Bucharest. The term "Cluj School" describes a generation of artists that reached international success, but it's not defined by a specific style or artistic direction, rather by a group of very talented artists that put Romania on the map of contemporary art. I ended up working as an assistant years later to some of these artists when I was living in Berlin. drw: What artists have been influential to you as you were finding your style? ro: The artists I worked with from the Cluj School were fundamental for my development. Leaving aside their practice, I was mostly struck by their professionalism and their stamina of producing amazing works no matter the pressure they had on their shoulders. History-wise there are so many artists that left an imprint on my practice. For example, I remember visiting an etching exhibition of James Ensor, my favorite draftsman, in Arles, that touched me to the core. drw: I'm always curious about process. What does a typical day at the studio look like? Is there any general rule about how long a painting typically takes you from beginning to completion? ro: A good day at the studio begins before entering the studio. On the road to my atelier I pass Marseille's old port fish market, then some streets with small cafés and restaurants, so when I start working I am already charged with a visual imprint. This walk is a preparatory process. Rather than overthinking my working day, I prefer to put myself in a clear mind-set, and that always leads to good results. My works are amalgamations of details. I often refer to them as tornadoes of matter, and they have their own way of completing themselves. drw: How do you choose your subjects? I notice lots of mythological and religious images. What is it about these figures that inspires you? [End Page 161] ro: I like to zap through art history. The archives of images are immense and of such amazing quality. There are...