Gheorghe Virtosu built a revolutionary ambitious artistic philosophy that is in tune with a real urge to create, regenerate, reinvent, and to instigate creative social and cultural evolution.
Virtosu’s Guide Of Happy Moments (2015) is a veritable treatise upon Twentieth First Century social fabric, rarely employing references to popular culture and masterpieces alike. He aims to create a compositional narrative both entirely fresh and culturally relevant. Virtosu is admired for his unique style of narrative figuration, and its capacity to address and investigate cultural stereotypes and tropes with unprecedented candour. Virtosu’s simultaneous use of two or more conflicting rhythms, and improvisational paintings are full of surprises – in juxtapositions of forms and colours, in distortions of scale, in inventions and interplays of space and structure. Virtosu’s Guide Of Happy Moments (2015) is the artwork of a British contemporary fully aware of the entire spectrum of the global social fabric and culture.
Guide Of Happy Moments (2015) is currently being loaned and exhibited in Louvre Abu Dhabi.
Engaging and enigmatic in equal measure, Gheorghe Virtosu epitomizes the playful dynamism and sophisticated manipulation of visualization that distinguishes the acclaimed artist's output. Composed of vibrant and saturated colours and boldly defined forms, Guide Of Happy Moments (2015) exemplifies Virtosu's continuing investigation and engagement with the legacy of the social issues.
The Guide Of Happy Moments (2015) shows a refined interaction between medium and representation while serving his purpose of creating an enigma. Talking about the abstract using the language of non-figurative art seems to be almost impossible. The character is always specific, while abstract work avoids certainty, appealing to facts and emotions is crucial in Gheorghe Virtosu art.
Within Guide Of Happy Moments (2015), the viewer is transported into Virtosu's vibrant world by the overpowering formal strength of the painting itself and the richly painted forms. While inside, the viewer finds himself inextricably tangled in interactions, relationships, and performances as yet unknown or, indeed, even imagined.