Liviu - Adrian SANDU

Sculptor

Busts, Portrets and Decorative Compositions

Example

Welcome to my virtual world. Here you will find examples of the wide range of artwork that I’ve created. Your feedback is always welcome. I hope you enjoy the view!

...creativity stands at the very core of one's self, it moulds the personality and builds individual uniqueness. Creativity is not a given structure of personality but rather the intentional stance emerging out of interaction between the inner bias to express and the richness of one's thought culture and feelings...



Born in 1968 in Romania, I graduated in 1997 from the Academy of Arts. The next year I worked as an associate professor for the University and taught drawing at the art school.
I spent the next few years freelancing for various American and European companies where I did graphic design, 3D modeling and animation. Here I improved my computer skills and expanded my artistic vision into the digital world. My final goal was to learn as much as possible about three dimensional modeling, to edit virtual spatial forms and human bodies, which in the end helped me to become a better sculptor.

After another four years of teaching Artistic Anatomy and Drawing exclusively at the University, my career took a new direction in 2005 when I started working for the Visual Art Museum in my hometown. Here I have the time and space to dedicate to new projects. During the past ten years I was also commissioned to create busts and public sculpture throughout the country which you will find here on the website.

In 2011 I earned my PhD in Visual Arts with a concentration in Sculpture. My thesis was "Morphology of Emotions in Figurative Sculpture"


To see a short video of Liviu - Adrian work please click here.

Liviu - Adrian Sandu Sculpture Video

Continuing the tradition of Bernini and Rodin

We tend to associate art and emotion. The Romantic notion of art as the product of an emotive, sensitive and inspired artist who creates masterpieces to move the public has not altogether disappeared from the popular imagination. Yet, in recent history—particularly since the movement of art for art’s sake in the nineteenth century and the formalist and conceptual currents of the twentieth century—emotion has almost disappeared from art itself. Even in the movement of conceptual art most closely associated with emotion and spirituality—abstract expressionism—emotion is a part of the process of artistic creation and palpable in the moving effect of art upon (some) viewers rather than readily recognizable in the artistic object itself. There is, of course, no eternally valid rule that dictates that emotion should be an inherent part of a work of art—or of any part of the artistic process, for that matter.

The expressivity of sculpture reaches its apex, many believe, in Lorenzo Bernini’s The ecstasy of Saint Teresa (1645-52). The sculpture represents the sixteenth century mystic in a state of rapture. We witness the moment when the angel of God pierces the young nun with a golden arrow, provoking the paradoxical feelings of pleasure mixed with pain and of sensual abandon mixed with divine illumination. As she swoons, half-closing her eyes and slightly opening her lips with ecstasy, Saint Teresa becomes the very embodiment of religious fervor, spiritual attunement and passion. Even the drapery that enfolds her body swirls and twists around her with the same mixture of passive yet passionate frenzy visible on her face.

But what about the expression of more modest, individuated feelings? In the modern period, few artists were as thoughtful and successful in showing the relation between human form and feeling as Auguste Rodin. Despite the religious allusions of The Gates of Hell, Rodin brings emotion down to earth by materializing a passion that functions not only as a connection between the human and the divine, but also as an intimate and profound connection between earthly lovers.

Rodin revealed human love and life as a process of mutual creation between women and men. Passion is not only a union with those we desire and adore, but also an elevation through shared feelings and sensuality which is always in process, never complete. His representations of the fragility of our mutual creation were as inchoate, vulnerable yet compelling as the material shapes that seemed to emerge only part-finished from the bronze or blocks of stone.

In our times, the Romanian sculptor Liviu - Adrian Sandu continues Bernini's and Rodin's legacy. Educated at the Academy of Arts, he is heavily influenced by Bernini and Rodin. Sandu states that "creativity stands at the very core of one's self. It molds the personality and builds uniqueness."

He combines time-tested methods with new technological innovations, creating 3D modeling that help him make realistic and expressive sculptures that not merely imitate, but also transform reality. Some of them have Surrealistic touches, hollowed out in various topological forms and curves that still bear human resemblance. "My final goal," Sandu pursues, "was to learn as much as possible about three dimensional modeling, to edit virtual spatial forms and human bodies, which in the end helped me become a better sculptor".

Art can serve many different purposes in different contexts such that it’s impossible to define it in relation to any set of common qualities, including emotion. Yet, as I have also suggested, when emotion is materialized in art, it renders artistic objects all the more poignant, moving and palpable for viewers. The expression of emotion not only touches us, but also enables us to connect to artistic creation in a way that’s unique and irreplaceable. Emotion and art don’t have to be interconnected. Yet what beautiful and meaningful art is produced when they are!"

By Claudia Moscovici
Art critic
www.postromanticism.com