Cristina Popescu Russu has recently taken into consideration a poetics equally attracted by the natural and the geometric: she assumed the suggestions of the vegetal within the more and more combed-out tissues/textures, of the simili-abstract shapes or of the shapes displaying elementary geometry (Misses Birchtree). Artist’s interest to simulate and transpose in fine porcelain other materials – paper, wood, stone – within a more and more minimalist approach (see Between Sky and Earth, Breeze, Dialogue, Shadows) is obvious. The laconicism of the vertical or horizontal shapes, the chromatic economy, often reduced to white or to some black graphic interventions, make us think of a “Nipponese elegance” which impresses by its concision and poignancy. From this point of view, the series of Letters, achieved of white ultrafine porcelain, “stamped” with white characters, hieroglyphs, knots and signs, stands for a fulfilled synthesis of Cristina Popescu Russu’s route: in these refined and apparently useful enigmatical
objects – in fact, enjoying a purely visual beauty –, the ceramist shows both the entire skill of her trade, and the cultural subtlety her art has always endeavoured to offer.

Magda Carneci