Graphical observations are guided towards the search of the beginning (of creatures or forms), the artist who drew them trying to understand that mysterious order behind everything and everyone.
Let us think of those moments when in the cold we were trying to make the pen work: blowing its tip, rubbing its refill in our palms, and eventually, trying to leave some marks on the paper. First, there were just some scratches, then lines, circles, scribblings drawn by the ink itself. The appearance of the coloured line was a real joy for us, a tiny achievement. The beginning of something.
The drawings of Diana Oțet – be it thematic notebook cut-outs (Nightmares and Dreams, Notes and Plans, Smooth Misery) or more complex graphic sheets – remind us of this operation in which we had no other initial expectation but to make the pen write.
Subsequently, when the instrument proves its utility, the first drawn mark may be the seed of thought which opens a wide range of opportunities.
Thus, Diana exploits drawing in its multiple conditions: writing, annotation, analysis and study (anatomical, geometric, microscopic). The observation and contemplation of immediate reality, of nearby things, events and creatures make her question the underlying mechanisms. Graphical observations are guided towards the search of the beginning (of creatures or forms), the artist who drew them trying to understand that mysterious order behind everything and everyone.
The careful observer puts into contribution not only her sensibility, but also that analytical spirit specific to natural science in order to remodel the paths of becoming and coagulation. Drawing becomes the act of recognition, being tightly connected with life. Better yet, it becomes a lifestyle – as we have seen with „draughtsmen” like Leonardo da Vinci, Paul Klee or Ștefan Bertalan.
Székely Sebestyén György
Diana Oțet (1987) lives and works in Cluj. In the present she is a DLA student at the University of Art and Design in Cluj.