Paul Neagu

  • The Activist, 1970/1972, oil on wood door, 190 x 101 cm
  • Paul Neagu Impulse and vectors, 38 cells, 1971, marker and ink paper, 27,5 x 19,5 cm
  • Human Computer 1971, black ink on paper, 54,5 x 44,5 cm (without frame)
  • Paul Neagu Pulse and Vectors. 78 cells, 1971, ink on millimetric paper mounted on cardboard,34,3 x 23,2 cm
  • Paul Neagu Silver Shadow, 1971, black ink on Canson millimetric paper, 31 x 23 cm
  • Paul Neagu Anthropocosmos, 1969, marker and pencil on paper, 27,5 x 18,5 cm
The Activist, 1970/1972, oil on wood door, 190 x 101 cm > <


There is no doubt that Paul Neagu’s art is in part this ever-renewed quest for the philosophical (but not spiritualistic) and practical (but not pragmatic) meanings of art and of its mechanisms for conveying signification. 

In the art of Paul Neagu the move from the philosophical to the tegumentary level, from the pure geometry carefully calculated on the paper of his drawings to the corporeality and immediacy of his performances, from the material plane of steel and wood to that of myth and symbol in his images, is part of the very nature of a project that is exceptional in its stylistic and conceptual mobility and unity. Paul Neagu certainly understood how to cut across the major theoretical debates and visual solutions proposed by the art of the past several decades, worked out in terms of modernism versus postmodernism or abstract versus figurative, by simultaneously embracing and undermining them. This is precisely why we can say that there exists something dual in Paul Neagu’s art and destiny, along with an understanding of his own (re)configuration that also explains the regenerative character of his objects, for he managed to be equally Romanian and British, man of the world and interpreter, artist and savant, craftsman and philosopher.