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Ruxandra Papa's painting, apparently of a museum type, if we may say so, which brings us to an european tradition, hides the liberty of imagination, the liberty of conceiving in the landscape various implications. Architectures will never want to gain a great density; they are symbols, as if they were spectral appearances, tabernacle like which can hardly be related to nay kind of tradition ...
De Chirico is a compulsory reference, when we talk about an art which has the boldness of the fantastic, that is sometimes in full light. I would remark first of all, with Ruxandra Papa's painting, a coincidence with De Chirico's programmatic will, between 1925-1930, the will of imposing a material-handicraft side of performing It is this will of handicraft, in a sense which may place us within the circuit of a well that connects Ruxandra Papa to the master of fantastic, as well as the allusions to an enigmatic area that unexpectedly associates the human profile within the landscape....
This serenity which 'conceals the feverishness is one of the ways whose amplitude was depicted by Surrealism.
DAN HAULICA

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