Natalia Romanciuc talks about all these in a strong, bold painting, skillfully unfolded over large surfaces. Her rough drawings and her concise ceramic objects complement the artist’s pictorial discourse populated by abbreviated human figures, with robust but fragile bodies, formulated in an expressionist key, which also echoes Art brut and Fauvism. Woman is the central character of her scenes: this is the woman par excellence, the matrix woman, the primordial character, but who carries something of all the women of the world, now or ever.   And there’s something else: her visual world, the one made visible by Natalia Romanciuc, is a generous world, but always apparently ungainly: her characters are contorted and cloistered, and thus they seem to seek ways to escape beyond the frame. And out of the same desire, they resort to gestures, words and signs: crosses, hearts, declarations of faith and reflections on self and love. Moreover, the use of the symbol – visual or written – is an important part of Natalia’s artistic strategy, as she handles with knowledge and reverence, but with a fascinating freedom, sometimes even iconoclastic, the Christian and universal hagiographic repertoire, as well as the various legends that surround them. It’s a matter of freedom of understanding them in the first place; of how we can see them, not how they should be seen.   For this is what Natalia Romanciuc’s exhibition is all about: about the possibility of an event, about the (un)plausibility of a love story between God and Eve, between humans and divinity, a scenario about which the artist assumes the freedom to speak seriously, but also playfully, in an art that confirms not only a strong personal touch, but also the desire to search, to colour, to constantly renew her artistic language.  

Curator | Horea Avram