statement

Sometimes we reject pink as it seems the color of girls, of women or men in certain ages, of funny stupid dolls, of posh ladies, kid diapers, little girls’ clothes. It’s a disgrace, a joke, a cliche, a laugh. But, yet, the prettiness of pink reveals by contrast a harsh and adult acknowledgement of the serious side of our lives. That’s why Adrian Dica uses pink and garbage in his paintings, although at first sight the association seems meaningless.


As long as we deepen into his works we discover it’s not about a simplest series of pinky brushstrokes thrown upon an image of a pile of dirt or that of a preapocaliptical scenery, it’s the reflection of our lives. We all have good and bad, happiness and sadness, sunny summers and icy winters, an unity of opposites and paradoxes that makes our lives meaningful. Adrian Dica succeeds in making out of his art an image of life in itself and meeting points with the others’ conscience.


In apparent opposition with pink, the industrial ruins of a previous era are personal interior landscapes, conditioned by the time and the space of childhood significant memories. The physical structures he paints are abstract mental schemes that belong to a timelessness of a space based on perception. The artistic speech is intimate and imaginative, revealing the existence of a conscience: the attitude of detachment and revaluation of memories.
From a technical point of view the artist aimed at a certain correctness validated by their own experience and by the methods already established. Starting from the techniques specific to the pictorial language (oil, acrylic on canvas) he tried to experiment based on a final expressiveness. Without developing a strict, repetitive method he integrated into the technique used various variables ranging from acrylic colors and oils to using water based stains, textural sprays, industrial paint and pigments. The brush is generally used for counterpoint, the rest of the image is constructed using palette knife, chassis wedges, scrapers, paint sprayers.


The general technique principle concerns several cycles of construction-deconstruction, addition-extraction of pictorial matter and of elements of plastic discourse. These favors the “coexistence” of the experimental elements and of the accidental factor assumed with a “correct” technical, psychological and historical approach.

Diana Andrei , 2019