Soptelea Liviu






These characteristics are confirmed in the art of Liviu Șoptelea by the direct and indirect presence of the religious motif, especially Christian-natured, motif which elevates not only the mentioned piece of work, but the entire creation of the artist, at a superior level, through the fact that it can be identified with the top of the hierarchy of the valuable of the world he lives in, either he expresses these values through his original formula.



       Aripi si vin, up. 80×100 cm, 2015



Even more than that, the betrothal of the sacred and profane, of the real and abstract, of direct expression and the abscons, urges the viewer to contemplation, to theological-philosophical reflection, to critical thinking. In this manner, Liviu Șoptelea becomes an educator and a mystagogue, as well as offering his grandiose and rare chance to create something in the souls of others, to dwell in them and become a new stage in the process of self-growth.



Theodor Aman- Exercises of Contemplation – The Art of Liviu Șoptelea – Gracious Light Magazine, nr.2/2013



       Azi am sa ma plimb, up. 100×200 cm, 2014



Over the artworks of painter Liviu Șoptelea a permanent imaginary wind crosses, which enlivens the surface’s colour and often agitates it. The composition appears as a zero time regarding the creation of the world, where the water splits along with the sky from the earth, also. It represents for sure a sumptuous moment, exciting for the viewer who becomes a congener with the protoparents of humanity. The triptychs have the meaning of an unpredictable unfolding, a chromatic movement on the surface, so the creative potential excites the perception.



                                    Calul nu stie ca e cal, nu vad ce a realizat omul stiind ca e om, 2015



The vibrations and the modulation of the paste make the dynamic of the matter to put the spirit permanently on alert. The extremes attract each other and the diversity of their gesture released by prejudice and made-to-be-violated rules results from their par. His painting sustains itself on his own personal truth he wants to express and also on the spontaneous adhesion of those who take at his word.



Valentin Ciucă – A Century of Fine Arts in Moldavia – Art Publisher XXI, 2009



       Dialog, up. 100X140 cm, 2014



I have always asked myself how the overwhelming impression of large space on less than one square meter of canvas is acquired: the paintings of Liviu Șoptelea have a synthesis character, as I said, they appear as the plastic summary of some great visions, of an ideology revealed through images of sacrality, of those impossible to be seen by the common looker: the small number of spotted objects represented through a schematic contour, apparently lonely, naïve, concentrate the conception of the painter, hard to be defined in another way, with the capacity of synthesis of a mathematical formula. The compositions’ small number of objects gives the symbols profoundness, as in big spaces, empty, a heavenly abyss that surrounds them, with the schematic figuration emphasising their archetype character and covering their identity in an undefined space and time, creating a diffuse ambiguity in the eye of the looker. The objectual parsimony grants large spaces to a vigorously personalised in strong colours, but warm, chromatic, accentuating the impression of ideational profoundness.



       Fetita cu chibrituri, up. 100×140 cm, 2014



All kinds of people and angels populate the exposition, presented in different situations and moments of existence, of revolt and refusal (« Shout », « Dialogue »), of erotic nostalgia (« Thoughts »), of distress (« Girl with Matches », « Today I’m Going to Take a Walk »), of piety (« The Dinner »), but also of euphoric unraveling through the stern cultural fetishes, the woman, the wine and the book, and not fortuitous Liviu Șoptelea inserts quotes from famous works. Along with them, a multitude of angels actions, actors of ecstatic decay, enticing, tired, sleepy, martyrs, loners or apocalyptic harbinger; angels with transparent wings, through which the grace manifests itself (« Today I’m Going to Take a Walk », « Travelling Dream ») or guardian angels. Their embers wings have therewith an own ambivalence of te symbol, being tied, alike, by the materiality of the devouring fire and by the spirituality of the initial fire, from the altar of God exaltation.



       Luna cu înger, up. 40×40 cm, 2015



                                    Nomos, 2015



       Strigat, up. 80×100 cm, 2015



       Taine si îngeri, up. 80×100 cm, 2015



       Vai, unde e drumul?, up. 80×100 cm, 2014



       Vis-înger calator, up. 80×100 cm, 2014










Born on 24 ian. 1966 in Botoșani, Romania

Studies: “Ovidius” University of Constanța, the art university, pedagogy section.

U.A.P member

President and fondator of “Ștefan Luchian” foundation of art teachers since 1999

“Art-café” member of Sibiu since 2000

“Art-grup” member from Botosani since 2003

Over 25 personal exhibitions all over the country

In September 1993, Exhibition of Glass icon to Chapel Saints Peter and Paul, New York, U.S.A.

Participant in many collective exhibitions and group of Botosani, Bucharest, Iași, Sibiu, Suceava, Cluj, Târgu Mureș, Constanța, Bacău, Brăila, Piatra Neamț, Buzău, Curtea de Argeș, Vâlcea, Slobozia, Chișinau, Silistra, Ruse, New York.

ART EXPO-projects coordinator

7 painting camps, 3 porcelain decoration camps, various exhibitions of art and iconography in the period from 1995 to 2016, four editions of the National Visual Arts Salon INTERFERENTE (interferences) 2012-2015


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