The exhibition entitled PRIME TIME signed by Obie Platon, took place on Tudor Arghezi street Nr. 9, Sector 1, Bucharest (in the former headquarters of the Embassy of the United States of America).

The new series of works appears as a disclosure of a very critical moment of metamorphosis. I refer to it as critical because some of the changes that ensue are probably irrevocable. It’s not about unveiling what is bad or good, when the race goes on for what is better. We are stuck between a faded memory of social and cultural values and the swiftly changing standards of today. So, in a place where the two coexist, the struggle of identifying your true self becomes increasingly harder. The allegory of enlightenment is resumed in two large scale depicted chapters, “Still life” and “Landscapes”, even if the images exceed any exact boundary or circumscription of the academy.


As Romanian culture arises by the instrumentality of the political context and the multicultural influences, this series of images delivers commonplace objects that any middle-class individual from the aging generation used to own. The ubiquitous ”Abduction from Seraglio” illustrated wall carpet or the kitschy habit of placing a fish bibelot on the tube tv, as cultural marks that are still present in the collective mentality of our society, among figurative symbols of the postmodern human needs, clash into a new dimension.

Selectively exposing different elements that became very common in our contemporary consumption culture, stipulates the greedy and vicious nature of the human being.

Each image is actually a sneak peek of a different scene that can show you a terrible outcome, due to the liberty of your own choices. Some of them are startling, some of them may give you solace, but they come as an array of events and feelings linked to them, following an exact narrative.



After the narrow sentiment of liberty given by the possibility of owning corporeal, we find ourselves a little empty and we don`t know why. Replacing the needs of our soul with the needs of the flesh brings us to the next scene, “The Slaughterhouse”, where the matter of consuming and being consumed occurs.

As our mistakes are pointed out more than ever, guilt is almost always present in our conscience and starts consuming our self-control. Therefore, we accept ourselves as being decadent. It really fits, knowing that one hundred years have passed since the glorious 1920s.

The immediate arid feeling brought by change can vanish the peculiar figurality of the archives of our memory, therefore sacrificing one universe becomes inherent in determining another.

Another key scene brings up the necessity of sacrifice, so the angel has to fall again for the sake of the renaissance.

The mermaid scene comes as an allegory of the shortcomings of her affliction. Stuck in a quagmire of uncertainty, the power of our demons increases.

Prime Time delivers you a visual image of an ideological chessboard. A contemporary social and political fresco, depicting an alternating hierarchy of power, as well as showing the collateral victims of this great game.

As we are aware that all flesh is doomed to ephemerality, we hardly realize along the way what is not (creation). Through a peerless and transparent impression of the process of metamorphosis, Obie Platon makes us understand the uniqueness of his own odyssey. As his roots grow in a specific social structure, he cracks the architecture of our limits to reach and redeem the spiritual message.


The exhibition took place between 24th – 31st October 2019.