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The works of Gheorghe Ţărnă attract the viewer with their symbolic, decorative and skilfully painted surfaces.
Ţărnă's artistic journey began in the village of Ciuteşti, in the Nisporeni district of Moldova, where he was born in 1974. He graduated from the Alexandru Plămădeală College of Fine Arts and the Academy of Music Theatre and Fine Arts, both in Chişinău.
'Ţarnă has a refined ornamental sense', the scholar Eleonora Brigalda says, 'and treats the two-dimensional surface of the canvas with rare complementary chromatic finesse, gently brushing and styling the forms without falling into abstraction.'
Gifted with an extraordinary perception of the surrounding countryside, the Moldovan painter prefers not to be loud. His palette is comprised only of pastels of differing intensities that he uses according to the subject he is approaching. That subject is usually shown in an asymmetric perspective that accentuates its randomness and originality and is dominated by a magic aesthetic vision.
The existentialist ideas to which he often refers relate to his endless search for true values and the meaning of life. Giving his paintings a symbolic and highly personal connotation, Ţarnă does not depict the observed world. He limns instead his emotions and memories, which he presents through a veil formed by soft brush strokes and a light-and-shadow technique to create a deeper connection with his audience.
The painter works with oils and acrylics. His style seems influenced by the techniques used by Iurie Platon, the Moldovan artist in whose studio Ţarnă developed as a graduate.
Among Ţarnă's paintings that have been well received by critics are the diptych 'The tree of life', 'Birch Shadows', 'Village border', and 'Letters from the grandma'.
He is also the first Moldovan painter to integrate into his work drawings by his small children.