EXILE

Fractures of neglect 1973-1981. Installation view, 2014, EXILE

The Garden (film still). ca 1979-81. 16mm projection filmed and transferred to DVD 10:35 min

The Garden (film still). ca 1979-81. 16mm projection filmed and transferred to DVD 10:35 min

Hexagon with green lines, 1980. Acrylic on canvas on custom stretcher, 100 x 89 cm

The Garden (film still), ca 1979-81. 16mm projection filmed and transferred to DVD 10:35 min

The Garden (film still), ca 1979-81. 16mm projection filmed and transferred to DVD 10:35 min

Metamorphoses, 1973. Computer graphics plotted on paper, 41 x 29 cm

Combinatory System, 1973. Collaged computer graphics printed as letterpress on board 174 x 82 cm

Fractures of neglect 1973-1981. Installation view, 2014, EXILE

Slanting Hexagon, 1980. Acrylic on canvas on custom stretcher, 165 x 65 cm

The Garden (film still). ca 1979-81. 16mm projection filmed and transferred to DVD 10:35 min

The Garden (film still). ca 1979-81. 16mm projection filmed and transferred to DVD 10:35 min

Fractures of neglect 1973-1981. Installation view, 2014, EXILE

Florin Maxa: Hexagon with tail, 1981. Wood, 65,5 x 50 cm

Combinatory System I/II. 1979. Acrylic on linen on custom stretcher, 165 x 65 cm (each)

The Garden (film still). ca 1979-81. 16mm projection filmed and transferred to DVD 10:35 min

The Garden (film still). ca 1979-81. 16mm projection filmed and transferred to DVD 10:35 min

The Garden (film still), ca 1979-81. 16mm projection filmed and transferred to DVD 10:35 min

left: Wing,1980. Linen over metallic stretcher (double-sided), 148 x 55 x 0.7 cm
right: Efflorescence. 1980. Acrylic on linen over metallic stretcher (double-sided) 177 x 50,5 x 0,8 cm

Fractures of neglect 1973-1981. Installation view, EXILE, 2014

The Garden, 1981. (Documentation of a temporary installation and action), Two unique silver-gelatin prints, 59 x 49 cm each

Florin Maxa’s stages of creative work, tightly correlated in the 70s, can articulate with the same significance an intransigent “discourse on method”. Between 1969-1974, the subject-matter object (the dichotomies formal-informal; structure-matter) becomes a question of the concept (displaying modular structures by means of illusionism; constructivist kinetics) and, later, an even more complex question of anamorphosis (applied graphics on computer). The computer becomes the accurate, impersonal instrument of a new “alchemy” of the image, performed “cold”.
(excerpt from Livia Drăgoi’ interview with Florin Maxa; Steaua magazine No.6, 1975)