Florilegium of Disquiet

Dieses beeindruckende abstrakte Gemälde zieht sofort die Blicke auf sich. Die dynamischen, geschwungenen Formen und Linien scheinen in einem weichen Dialog miteinander zu stehen und erwecken den Eindruck von Bewegung und Fluss. Die Farbpalette umfasst sanfte Türkis-, Violett- und Grüntöne, die harmonisch miteinander vermischt sind und eine traumhafte, fast mystische Atmosphäre schaffen. Einige Pinselstriche sind kräftig und energisch, während andere eher sanft und fließend sind. Einzelne Schriftzüge am unteren Rand verleihen dem Werk eine persönliche Note und regen zum Nachdenken an. Zusammen ergibt dies eine gelungene Komposition, die sowohl Ruhe als auch eine gewisse Energie ausstrahlt und den Betrachter emotional berührt.

Dieses Gemälde könnte perfekt in einem modernen Wohnraum, einem kreativen Büro oder einer Galerie aussehen. Es passt wunderbar in eine entspannende Leseecke oder über eine schlichte Couch, wo es als künstlerisches Highlight dienen kann. Auch in einer minimalistischen Einrichtung würde es glänzen, da es den Raum beleben kann, ohne überladen zu wirken. Die künstlerische Note und die ansprechenden Farben machen es zu einem idealen Blickfang in jedem Raum.

Florilegium of Disquiet

(part of the series “Kafkian Eternity with Flowers at 7 pm”)

“Florilegium of Disquiet”, part of the series “Kafkian Eternity with Flowers at 7 pm”, stands as a painterly manifestation of a metaphysics of gesture – a spontaneous and visceral act of creation that opens a threshold into the unseen. In this 60 x 60 cm work, Ovidiu Kloska does not merely paint; he abandons consciousness in favor of an almost ritualistic presence, where gesture becomes form and color becomes the flesh of an idea.

In the spirit of contemporary gestural abstraction, the painting is not the result of a plan, but rather the product of a poetic and lucid discharge of energy. Every hand movement, every splash of color or incision into the paint affirms that lived emotion precedes rationality, and that artistic truth is revealed in the process—not in the intention.

The composition pulses with sensory contrasts: liquid blues and saturated violets cascade over pearlescent greys and stark blacks, like emotions condensed into a dreamlike space. The sweeping, almost anthropomorphic gestures evoke a being caught in the act of forming or dissolving—an unstable figure suspended between two realms: the real and the imagined. Here, painting becomes a site of metamorphosis, where identity wavers and time loops in a disquieting, Kafkaesque spiral.

At the lower edge of the canvas, subtle yet piercing, appears an inscription:

“In eternity we trust / only the flesh…” – a poetic fragment, whispered between revelation and silence. This phrase becomes the conceptual core of the work: a fragile mantra, an attempt to believe in a personal, inner eternity—one lived through gesture, not defined by dogma.

Yet this trust is not absolute. It is fractured, human, like the flesh that utters it. The continuation “only the flesh” introduces a poignant tension between eternal ideals and biological limits. The artist seems to suggest that if eternity exists, it is found in the body, in gesture, in the present moment of creation. The text itself is nearly dissolved into the paint texture—hidden, broken, much like the truths it seeks to express. It is a confession written mid-ritual, a wounded phrase that exposes both the vulnerability of the human condition and the enduring strength of art.

Thus, “Florilegium of Disquiet” is more than a painting; it is a visual existential event—a scene of becoming, of surrender, of searching for meaning through matter and movement. It is a meditation on the ephemeral, and an ode to the fleeting moment when the flesh of color touches canvas and transforms it into a living metaphysical space.