b. 1961, Dolj, Romania
Daniela Făiniș is a Romanian artist who graduated the National University of Arts in Bucharest before 1989 – Professor Costel Badea’s class – with an outstanding contribution in the field of contemporary ceramics. Her creative discourse combines sculpture, painting, graphics and tapestry into complex ceramic objects and installations. Her works are held in prestigious museums and galleries form Japan, Germany, USA, Belgium and Romania, as well as in the main building of the European Parliament. Făiniș was awarded numerous distinctions: the gold medal at the International Contest for Ceramic Art from Gualdo Tadino, Perugia in 1989 and 1990, the Honorary Mention at the International Ceramics Competition in Mino, Japan, in 1997, the first prize at the Ceramic Art Biennale in Aveiro, Portugal, and the Order of Cultural Merit in the rank of Commander in 2004. She lives and works in Bucharest; since 2013 she has been guest-artist at AnnArt Gallery, where she took part in three group exhibitions.
The plants created out of porcelain and metallic rods by Daniela Fainis seem to be both shafts and flowers that grew like in fairytales, they seem the result of a metamorphosis from the first into the second category. What gets your attention is the subtle balance between representations of a figurative accuracy and the abstractive syntheses of the tree crowns and of the leaves/blooms. The curvaceous structures of the metal rods, are in themselves creating volumetric rhythms, they are spatial drawings that remind us, I think, of some of Gabo’s and Pevsner’s creations. The highest quality level of decoration, is touched, with no ostentation.
Daniela Fainis’s imagination, the narrative one as well as the plastic one, is absolutely prodigious and perfectly coherent in its expression, in its language and finite form. Outside of any form of aggression and completely liberated of traumatic diurnal obsessions, her art is powerful and overwhelming through its self; through consistency of thought, through the impeccable knowledge of the material and of the technique and, most of all, through the weightlessness that holds all of these together, and that the viewer has the freedom to call as he wishes.
Daniela Fainis’ experiments, for quite some years now, the plastic virtues of ceramic, approaching the decorative object from the perspective of plastic and existential metaphor. Her artefacts meet, when the artist decides, solely aesthetic functions, exclusively we might say, forgetting any other utility beside that of support, of source for thought materialisation.