For the past few years, in the most different seasons and times of day, Mircea Stănescu has photographed New York. His photos have a neat graphic style, they possess the trait of naturalness, they have memory. But they are also claiming. Bridges, ladders, decks – common connective elements. Elements of passing. Much like the city they too claim connection, also claiming the passing. They are always accompanied by a written explanation, technical and poetic at the same time.
New York is an inexhaustible space. Mircea Stănescu uses an abstract matrix and converts it into a personal reality. There is always a sense of energy and extended vulnerability. In New York City, an intuitive necessity determines the image to become a reality. Mircea Stănescu provides its undeniable protection.
“The abstract, for the reality to which you have access, is not one to encourage, but one that will instinctively oppose you, by trying to cover up its communion and complicity with the photographic protective contrast. Pliable, evasive and deeply duplicitous, the abstract evinces its own imagistic whims to frame the greys, one after the other, until extinction.
A link which should not be underestimated is the one between the abstract and alienation, between attitude and ambiguity, in which the selected reality remains nothing but a conditioned reflex of a guileful consciousness.
Leaving ‘descriptive psychology’ aside, together with the map of doubt, of the lack of confidence and the play of ambiguity, the journey towards the abstract is a matter of plasticity, of the eidetic spirits of the author, as he is testing, once again, the ‘subtle negotiation’ between art, fiction and reality.
The abstract, a concept with a unique allotropy, whose translation remains a mere desideration.”
— Mircea Stănescu