Prezentare Demers Artistic

Pictura Ruxandrei Papa, sub aparenta ei, daca vreti, muzeala, care ne aduce spre o traditie de muzeu european (…) ascunde aceasta libertate a imaginarului, aceasta libertate de a concepe in peisaj implicatii foarte variate. Arhitecturile niciodata nu vor sa castige o mare densitate; ele sunt niste semne, ca niste aparitii spectrale, tabernacule care pot fi greu raportate la cutare traditie
De Chirico, aceasta referinta obligatorie cand este vorba despre o arta care are curajul fantasticului, si a fantasticului uneori in plina lumina. Eu as semnala la Ruxandra Papa, in prlmul rand, o coincidenta cu vointa programatica a lui De Chirico, din anii de dupa 1925-1930, vointa de a impune o latura material-artizanala a executiei (,..) Aceasta vointa de meserie intr-un sens care sa ne aseze in circuitul unei traditii bine incorporate, mi se pare ca o leaga pe tanara pictorita de acest maestru al fantasticului, la fel ca si trimiterile inspre un enigmatic care asociaza neasteptat figura umana in peisaj (., ,) Verniurile acestea care sunt foarte egal pure, un fel de egalitate a tusei, o precizie uneori a desenului ne duc toate spre acest tip de executie, in care aceasta vrea sa obtina uneori senzatia de saturatie stranie, de atmosfera nelinistitoare, incat mie mi se pare ca este un lucru care o aseaza pe artista intr-o traditie interesanta si ca, in orice caz, e alta decat aceea a vartejului dintre provocatia de sarcasm ce a caracterizat o mare parte din arta secolului XX. Aceasta liniste care ascunde febrilitatea este una dintre caile a carei amplitudine a fost aratata de surrealism.
Dan Haulică

Prezentare Demers Artistic

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 Ruxarndra 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 4s this will of handicraft, in a sense
which may place us within the circuit of a well that connects the young artist to the master of fantastic, as well as the allusions to an enigmatic area that unexpectedly associates the human profile within the landscape.
The varnishes which are equally pure, a sort of unity of the brush, sometimes a precise touch the drawing, all these bring us to this sort of performance which tries to acquire sometimes a strange saturation feeling, a restless environment, so. that it seems to me that the artist is placed in an interesting tradition, which anyway, is different from that of the turmoil within th challenge of sarcasm which characterized great part of the 20th century art.
This serenity which ‘conceals the feverishness is one of the ways whose amplitude was depicted by Surrealism.
Dan Haulică