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ArtistsArte plastice Paula-Gina Baranovschi

Educationalbackground 1981 graduated from the Fine Arts High School, Iaşi
1989 graduated from the Art Academy in Bucharest,Department of Monumental Art and Restoration
2004 restorer specialist agreed by the Romanian
Ministry of Culture2004 member of the Artists` .Union of Romania
Artistic activity 1989 large frescoes at Mãrãşeşti Mausoleum
2004 member of the Artists` .Union of Romania
Artistic activity 1989 large frescoes at Mãrãşeşti Mausoleum
1990-2001 wood and oil paintings, clothing design projects
2001-2017 attended individual and collective exhibitions
Individual exhibitions 2003 Antwerp and Brussels, Belgium
2007 Stuttgart and Bochum, Germany
2007 "Masca" Theater, Bucharest
2008 "Artis" Gallery, Bucharest
Collective exhibitions 2001 The Municipal Art Salon, Bucharest
2002 The Municipal Art Salon, Bucharest
2005 Religious art exhibition on the preservation and
restoration of the Church of the Mamu Monastery
2006 The National Painting Salon, Bucharest
2009 Metropolitan Cultural Center, Bucharest
2010 "Apollo" Gallery, Bucharest
2010 "Arthis" Gallery, Brussels, Belgium
2016 The Painting Salon organized at the "Constantin
Brâncuşi" Hall of the Parliament Palace,
Bucharest
2016 "Olympos" Cultural Festival, Paralia Katerini,
Greece
2017 The Small Salon, at "The House of Art" Gallery,
Bucharest

For someone who is not knowledgeable or is inattentive, the
painting of Paula-Gina Baranovschi can easily be considered as a product
of the non-figurative decorativism, which becomes profound through
visual references from the sphere of Cubism and even from metaphysical
imagery.
But the painting of Paula-Gina Baranovschi is far from being
only the conjunctural expression of a meticulously chiselled craftsmanship
or of an excessively taught spirit. Fortunately, we are dealing with an
obviously strong and very authentic talent, able to walk a personal way
among cultural deposits who usually stifle similar attempts by those who
don`t have not enough performing artistic instincts.
There are many arguments supporting this assertion.
First, it should be noted the strength of the vision that manages
to keep together a huge volume of signs and symbols, often contradictory.
Probably inspired by the practice of the masters of analytical Cubism - who
surrounded by their eyes an object in order to get on the canvas a unitary
image of it, simultaneously from all possible angles -, the process used by
the artist assumes the orbital motion of a haunting dreamlike entity,
investigated in its multiple manifestations - from dream to nightmare.
Secondly, it is obvious the vitality by which the painter puts the
colours, traces the brushstrokes and individualizes the contrasts.
Thirdly, the naturalness of expression makes possible the access
of the onlooker to the maze of a boundless fantasy; the effort to decipher
the images - which seem super sophisticated at first glance - can turn in an
elusive manner into a state of inner contemplation of a quite familiar
universe. This `magical` effect, hard to describe in words, but omnipresent
in true art, leads us to follow the future development of the creation of
Paula-Gina Baranovschi with maximum attention.
Corneliu Ostahie



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