“Stay open in a closed society and awaken your instinct, let this instinct flood and understand the blood as it ignites in a lucky collision of contamination with many like you, kill time and live in high fire.”
Art is born, it is caused, it always trembles where it seems impossible. Art is a relative perception in value, because the more we move away from it optics, the more it takes on the reflexes of a new and controversial relativity for what it proposes. This instability in time is given by the matter of art itself as well as by the artist, who hold in themselves a strange journey, shaking the stability of art with their great dominant or signifying forms in time.
Adrian Cene is a contradictory artist who in essence has shifted the concept of time to a free form, where he identifies his fulfilling alliance with the excitement of nature and the mysterious counter-expression of colors. Cene tries to establish a personal relationship with the world around him, under the weather of an open vocabulary to add or remove all the refractions in the selective plane. In essence, C’ene is like a child at his first emotions, refusing to detach himself from the mystical and suggestive homeland of painting.
A painter who with his journey reminds me of an invisible fire of the golden world of painting; the time of the masters who transformed their art into an uplifting dependence of the spiritual. It seems that his work gives him the role of a “gunfighter” who is ready to defend his artistic discharge at any cost. It is this escape and fantasy that clothe his being with personality, which then dares to “kill’ time with an intoxicating and inexplicable ease.
Çene does not embellish, does not use aesthetic tricks, but as a “rocker” of visual acts builds his work in a constant flirtation with the public, on a journey despite the following references set out as historical directions. Cene’s journeys as a color hunter are captured on the chip of his first emotional choice. He fires the walking tensions over the reality that surrounds him with the apparent superiority of a narcissist, in a magnetized field that coexists with the artist himself. He goes from state to state distracted and sudden. Instinct gets a key status in all its search.
“Killing time” is a download for a special character that holds the axis of a deranged and walking creativity, which needs to be surrounded by revealing words and sentences as a separate act of behavior style, where the challenger challenges time. (by turning it backwards) through uncontrolled recycling of the consciouness drive.
His presence in the COD spaces gives him a valuable opportunity to establish a dialogue with today art developments, not only in the visual arts but also in the domain of culture as a whole.
His work in this exhibition is divided into three parts: the beginning, the engagement with informal painting and a stage where his life fables turn into pretexts of painting as they build a more human and more accessible communication.
The only unifying axis is the idea of reviving the ideals of painting (as a striking sign fuil of passion), without academic endeavor, but as a spirit that wanders wildly destructively in a restoration of the order of values, that history through artists brings back to its repetition, reminding us that we have become somewhat too much scientific and rational.
Cene is the representation of the spiritual acts that becomes present with his behavior, sometimes in the context of time and sometimes out of it, as a need to model his spiritual need, an old and. time-changing alliance.
