Cycle of remembering masterpiece Ovidiu Kloska (1977) Acrylic

Cycle of remembering / from the series " Beyond the Inside"
acrylics on canvas / 70 x 70 cm / signed January 2026
Here, remembering is not an act of retrieval but a condition of matter. The cycle of remembering does not present memory as an image that returns intact; it stages memory as erosion, as pressure, as something that insists through opacity. The surface behaves like a threshold where sedimented time rubs against the present moment. What seems to appear is already vanishing, and what dissolves leaves a residue that refuses silence.
The composition hovers between emergence and collapse. Forms gather only to be pulled back into mist, as if the painting were breathing—exhaling fragments, inhaling them again. This cyclical movement echoes the logic of contemporary abstraction: not a withdrawal from meaning, but a refusal of closure. Abstraction here is not pure; it is contaminated by experience, by trace, by the insistence of the lived body. The work does not abstract away from the world—it abstracts with it, carrying the weight of what cannot be fully articulated.
The palette feels restrained yet charged, as though light itself has been bruised. Pale expanses hold within them darker compressions, suggesting that memory is never evenly distributed. Some moments press harder than others. The lower plane anchors the work, dense and gravitational, while the upper zones drift toward dissolution. This vertical tension mirrors the psychic architecture of remembering: what we try to elevate becomes unstable; what we attempt to bury gains mass.
Within the series Beyond the Inside, this painting extends the inquiry into interiority as something porous rather than sealed. The “inside” is not a private chamber but a field of circulation, where external events leave imprints and internal states leak outward. Remembering, then, is not nostalgia—it is a negotiation. The painting negotiates between clarity and blur, between intention and accident, allowing gesture to speak where language falters.
In the context of contemporary abstraction, The cycle of remembering aligns with practices that privilege process over image and duration over depiction. It resists spectacle. Its quiet intensity asks the viewer to slow down, to linger with uncertainty, to accept that meaning may arrive obliquely. The work does not offer answers; it offers weather—conditions in which thought, feeling, and time continuously recombine.
Ultimately, this painting remembers for us what we often forget: that memory is not behind us. It is ongoing, unstable, and materially present. It folds the past into the now, again and again, until remembering becomes not a return, but a movement forward through layers of unfinished becoming.