Radu Marinescu

Radu Marinescu was born in Bucharest, on September 28, 1968, he graduated from the "Ecole des Beaux-Art" in Paris and is certified as a restorer in mural painting (fresco), a vocation to which he has devoted over 34 years of artistic activity, marked by the appreciation for the masters Ion Iancut, Vladimir Zamfirescu and Sorin Ilfoveanu.

He did his apprenticeship with the renowned Cornel Boambeș and collaborated with the restorer professor Grigore Popescu, bringing back to life churches and monasteries in Romania, in Râmeț and Sitaru, then he settled in France, where he worked with other gifted artists.

Among the restored edifices are the cathedrals of Poitiers, Quimper, Nevers, Limoges, the castles of Oiron, Villeneuve Lambron, d'Armaillé and the abbeys of Pebrac, Fontevrault, the churches of St. Hilaire du Bois, et al.

After 2006 he moved to Creuse-Aubusson, the homeland of world tapestry and worked, on his own or through various collaborations, on the restoration of the murals in the churches of St. Michel de Chavaigne, Remalard, St. Claude de Diray, Terre de Chaux, Cheissoux, Ecuillé, Monlet, Notre Dame de Laurette d'Alencon, Beaumont, Geloux, Mazangé, St. Eloy de Gy, the Espace 44 theaters in Nantes and Le Lieu in Tours, the Cathedral of St. Flour, Bakong Temple in Angkor (Cambodia), Rihac Xaintrie Castle, Bruniquel, Belleperche and Chaise Dieu Abbeys.

The talented plastic artist exhibited in Paris, Le Mans, Laval, Tours, Les Rives, or at the Royal Gallery in the Sinaia Casino, and the inspiration for imagining the LAIC SYNAXAR visited him after outlining the 365 saints on the vault of the Saint Michel de Chavaigne church.

The works in the exhibition appear to be painted in one stroke, with an untamed artistic breath, and the artist's creative impulse draws its juice from the theme of déjà-vu, twinned with the dream motif, which fascinated painters such as Picasso, Gauguin and Flora Yukhnovich. The atmosphere and scenes anticipate the feeling of déjà-vu and the cyclicality of life, and time becomes fluid, giving the viewer a cinematic mirage.
In the enigmatic secular synaxar, space and time are fluid, making it impossible to distinguish the real, commemorative, or imaginary plane. The precognitive motive of the lovers is one of the few constants of Providence in the original exhibition, which brings together a labored life on the similes of iconography and the faceless silhouettes of the "unholy".