Both Răzvan Botiş and Joe Fletcher Orr intelligently dare to cut against contemporary art’s cynicism, risking self-irony, “schmaltziness”, and even “softness”. If the today’s challenge of the younger artists is to find “wholeness of being and clarity of emotion in the midst of a cacophony of Internet-Age stimuli” *, then they both might be heading in the right direction:
“There is a retro utopic idealism running through Botiş’ works that links him to avant-garde artists of the mid20th Century. Botiş greatly admires the French Fluxus artist, Robert Filliou, whom he calls the ‘big/small artist’. Filliou believed that art could be a form of play that did not necessarily have to express itself through the realisation of objects. Botiş too likes to play and is primarily concerned with the journey of an idea.” (Jane Neal)
“If there’s an origin myth to Joe Fletcher Orr’s work then it is this: as a child the artist used to be taken to modern and contemporary art museums by his dad. The purposes of these trips weren’t educative however, but a moment of father-son bonding in which together they would laugh and joke at the absurdities of the conceptual offerings: I could do that. Except, as the visits went on, and Fletcher Orr got older, he realised he could do that. So he did.
The lightness of touch remains in Fletcher Orr’s work however. The artist is one who doesn’t passively accept the intellectual aura of art but instead prefers to prod it, jest it, question it, until something stronger, more robust emerges.” (Oliver Basciano)
* Seth Abramson - “On Literary Metamodernism”