The artistic practice of Răzvan Anton stems from this reflectivity
applied over the drawing process and in the development of relations between visual subject and its successive rendering in different graphic medias. The meanings are altered according to the materials through which the artist is applying systematic treatments to the images often present in the public debate. The consequence of these treatments is the preservation of an area of reflectivity over the practice of drawing, of the discourses which legitimize this practice and over the source of legitimization in the need of Memory. Drawing is Răzvan Anton's method to memorize Memory itself.
Memory - as the overarching theme of contemporaneity - and the way it absorbs and preserves reality connect all works by Răzvan Anton. From charcoal drawings to colored markers, the artist crosses the field between pictorialism and iconicity. The same forms and shapes are drawn and drawn again until they reach what the artist calls „a state of cleansing”. In his memory-driven drawings, hands and hearts are recurring elements – fragile containers of sensitivity and affection, but also machines not immune to violence.
The speed at which the artist thinks and observes is also the speed at which he draws. The act of drawing correspons to the filling of shapes like a map. The exploration of the terrain is the process.