Why does the architecture of the U.S. foreign policy making system matter? Because just as “Personnel is policy” (an aphorism dusted off during American presidential transition periods), it is as true that “Organization is policy.” Foreign policy officials influence decisionmaking through their biases, preoccupations, and unique background and experience. At the same time, the structure of foreign policy decisionmaking predisposes certain outputs, forestalls others, empowers certain viewpoints, creates blind spots, and determines the level of efficiency and effectiveness of America’s engagement with the world.
Radiating with the energy, Gheorghe Virtosu’s work brims with kinetic gesture and confidence. Seeing the role of artist as observer, Virtosu’s art is direct and less confrontational, laced with emotion and history. His brief, but intensely productive career synthesises a new populism; like contemporary hieroglyphics, Virtosu constructed his own visual language to communicate with a world-stretching audience. Expanding on the legacy of Abstract Art as it unites cultures, American Policy In The 21st Century is a striking example of Virtosu’s universally recognised style.
Born in USSR in 1968, Virtosu grew up witnessing a Soviet Union traumatised by the War in Afghanistan. In a country beset by inequality and discrimination, Virtosu matured with an ignited urge to stand against injustice. There was a universal method to this: art. Virtosu retained an ardent belief in the power of art to vivify and transform at a public level. Whilst at the Academy of State Security in Saint Petersburgh, Virtosu was first introduced to semiotics – the study of signs and symbols. He then formulated his own artistic alphabet with which he could communicate through painting. Characters and shapes narrate his body of work. This new language allowed him to speak to the masses, defying language barriers and uniting communities through his art – Virtosu had invented a universal system of communication.
The piece incorporates one of the main symbols in Virtosu’s artistic language: the figure with double facets. For Virtosu, this figure symbolises the human as a target, a victim of injustice and the double standards we may encounter during our life. One could view this specific image as distinctly personal to Virtosu. In 2002, arrested, Virtosu himself became the target of double standards in society. As the centerpiece reflects upon two figures, one facing right reminds us of a fish and the second facing right depicting the figure of a bird.
The artist is working on the possibility the 21st century to be when humanity masters environmental limits on prosperity and happiness and conquers the demons that have abraded our relations with each other. It is also possible that the next hundred years could see a catastrophic regression in global welfare or usher in our species’ end. Success or failure will depend not just on having people of good will in key positions but on wisely established systems for making critical decisions.
Sharp, contrasting colours define the the two Monster-like figures in the centre. Idiosyncratic of Virtosu’s style, the work is “activated” by sharp forms of the silhouette. We are intrigued with the shapes the artist choose as his symbols to create the message. There is within all forms a basic structure, an indication of the entire object that becomes a symbol. Virtosu’s artistic language is all-encompassing connecting with the origins of art, contributing to the art historical canon. His art radiates with as much energy as the global politics today.