My name is Eduard Locota and I am born in 1985. I work at the boundary, at the crossroad, or at the edge of design and art. I am both a sculptor and a designer, creating contemporary pieces of sculptural designs, working in this very niche sector of the visual arts. I am a Romanian artist that has established his art studio as the signature showcase of Art & Design of Eastern Europe. Located in Timisoara, Romania; my studio features a curated library of exclusive collections of distinctive artworks as well as avant-garde furniture, and design pieces.
In the contemporary context focused on excessive and unsustainable consumerism, the 21st Century welcomes us with a Darwinian transformation, which leads to a synthetic man and a synthetic nature. Heavy topics as regeneration and sustainable environment are thrown into the arms of future generations. Thus, my creations highlight the synthesis through alternative materials used, such as synthetic marble, synthetic glass, synthetic stone, charcoal, wood, and so on. His works have the powerful conceptual plasticity but also physical plasticity, a concept that can be interpreted as modern design works of the 21st Century.
My artistic career has started pretty late compared to other artists. I have a licensed degree in Cybernetics and Masters in Financial management, and just later on when I was about 30 years of age I started studying arts very seriously. As a consequence, I have finished Timisoara art school – Sculpture department and Masters in Sculpture. Studying has become a constant in my practice and an important part of my life, I kinda like it.
I am part of a breed of contemporary artists that carve and sculpt all of their works on their own. I am doing all the designs and making all the preparations and then working on my sculptures all the way through until they are finished. I consider this to be the honorable way that allows me to put my signature on all of my artworks. My working process is so diverse, basically changing from year to year and adapting to the body of work I am making at that time. You always need to adapt and use new techniques that can facilitate the creative process. Using fewer resources for the best result is what I try to do, but not always succeed.
Basically, I always start with an intense research of the theme where the body of work fits best. After I understand conceptually what I want to produce, I either make various drawings, virtual models on 3D software, or scaled-down clay models of the work. I never go full-scale before knowing exactly what the artwork will look like. Building the actual works involves a lot of clay modeling, mold making, sanding, and polishing to a perfect finish. I’ve always focused on unparalleled results, practical abilities, high creativity, and excellence.
My practice represents radical experimentation of materials and forms and an exploration of new techniques. My creations highlight the synthesis through alternative materials used, such as synthetic marble (resin and marble dust), synthetic resin (Plexiglass), synthetic cement (Jesmonite), charcoal, wood, and so on. The works have powerful conceptual plasticity but also physical plasticity, a concept that can be interpreted as modern works of the 21st Century.
The synthetic materials I am using were chosen rationally in order to explain both the physical and conceptual materiality of the themes. The common perception of any synthetic material is usually disposable, mass-produces, and low-grade. This gives birth to a discussion about the ethical value of synthetic materials and man’s ability to perceive them from a cultural perspective. We don’t throw gold on the streets like garbage, because we treasure it culturally. In a battle to overpower our preconceived ideas about the value of materials, pretentious materials don’t make objects more valuable.
Such a varied topic, since I do exactly the opposite of what a consecrated artist is doing – I don’t focus on a specific theme year after year. Why? Because first and foremost, I create the artworks for myself, so that I like them. To be bluntly honest, I do not make my artwork so that the public clap their hands when they see them. It’s good that they usually appreciate what I do, but it’s fine when they don’t. ( and it happens ). I’m not here to satisfy any crowd, I’m not that plastic.
If you follow me, by autumn I will be releasing a totally new collection, diametrically opposite of what I am usually doing. Inspiration is either from nature ( from the places I have visited ), from the people I have met, from memories, from museums, from abstract ideas, and… I can go on. Inspiration is such an abstract concept, like drips of paint falling randomly on a canvas. I am making so varied pieces, time is my only enemy – at the moment.
It’s not really about the “me” or the “who”, it’s about the work. To take your dream question further, to collaborate with Michelangelo, Brancusi, Rodin, Picasso, Bernini.