CREDO
The philosophical process, its way of pondering the ideas, the incredible “illogic” beyond the logic, the labyrinth of mind and universe, the wholeness and uniqueness gathered within a small mathematical formula, were permanent preoccupations for George Saru. His paintings reflect the inner images born abundantly from such an approach to the reality behind reality. Gradually the artist discovered that the cause of mere actuality is penetrable through the abstract. The primary model is not the object. The general versus particular, with a penchant for generalization, incite to abstraction, even if the right word is sublimation.
The way George Saru treated his paintings was neither frugal nor futile. Despite his attraction for the subtle – and therefore “would be negligent” forms – he was a first rate portraitist. The artist gave care to his “forms” the same way he painted the portraits, that is, the same elegance, the same stylization the same accuracy and sophistication.
If the shape is irregular, it doesn’t mean it should be at random and fast made. This irregularity is a long conceived one and thoroughly related to the whole. He used to work for weeks on a single painting and made many corrections, following a hidden code of perfection and equilibrium. Sometimes it wasn’t the shape which needed a change; it was something more important: the color. He tuned his chromatic palette to a perfect balance toward a complete harmony and highly elevated refinement.
George Saru sees the entire universe or considers just a section of a cell. He structures a crystal or a living planet. The perspective has not one point of view, but many and the light is a matter of spectral combinations and not one of shadows. In this whole abstraction (or sublimation) one can see once again the artist’s great talent for drawing. His inclination for representing his own imagination, as he often said, is not an excuse for the incapacity of drawing. Not at all; when it was about figurative, he equaled the great masters. Portraits, large compositions, murals and pavements, even huge tapestries attest this. Above all, the artist preferred to develop and follow his unique style, creating his own world, according to his thirst for answers, fitting perfectly and originally in what is considered modern art within the second half of the twentieth century.