“Rodica Chisu recreates a vocabulary of signs, simple and effective, a vocabulary that fits her, because it was built in time, systematically and vigorously – the real universe and the universe of her imagination, in black and white, in color, with using fabric, giving us an authentic “treaty” about “expression of lines through free movement,” a treaty worthy as a work of art.”
CRISTINA ANGELESCU (excerpt from the Romanian newspaper Week, July 2 , 1983)
I had an enthusiasm and desire to approach different engraving techniques early on in my university studies.
I experimented in my studies, with the possibilities that engraving in different materials: wood, copper, zinc, linoleum, lithography – could offer me to express lines.
Gradually I discovered that the line has a wonderful quality, that of excellently expressing movement, changes in the physical and spiritual space around us. In engraving the black line has a maximum force of expression and energy, and when it moves freely it can create tensions, suggestions of ideas and feelings.
“The artist maintains a characteristic sobriety and central economy even when her work touches on areas layered with exuberance and visual and tactile comfort (especially in textile works). Her works prove that the spirit is cultivated, carry a clarity, lucidity and modesty, which knows through the telescope of the senses, to transform the work from a visual art problem to demonstrate how there could be other diverse possibilities, whilst occupying yourself with the same work.”
“The author shows the same unique quality that Odilon Redon called “the effects of the abstract line, which acts directly on the spirit.”
MIHAI DRISCU ( the program “Chronicle of Fine Arts” , radio Bucharest , July 29 , 1983 )
“Rodica Chisu is one of the fairly rare artists who in the moment they are convinced that they have formed an idea that can become the foundation of a creation, with notable consistency they chase twists and enroll them in the forming image.”
CRISTINA ANGELESCU (excerpt from the Romanian newspaper Week, July 22, 1983)
I sewed lines on various textiles or combined them into environmental structures, wanting to suggest fragments of nature that I have memorized in time and I rediscovered them as having expressive meanings.
“The themes of the engraving, occasionally revisited in the textile works, are clearly defined: the seams and reliefs, are not only virtuoso works, but also show the possibilities to create an ambient atmosphere the room in which the subject maintains its role as the ideational center of the entire image.”
DAN GRIGORESCU (excerpt from the Romanian newspaper Romania Libera, August 8 , 1983)
In many works I was attracted by the linear textures applied over the colored background, having the impression that the ideas that formed the basis of the creative process can be transferred in this way directly to the viewer.
The line visible or hidden under the color spots, can direct a free movement of the color spots, giving the painting dynamics and expression.
“Her pictures give one poetic implications in the landscape, and incontestable capacity to contain the values of the lyrical parts of the world.“
DAN GRIGORESCU (excerpt from the newspaper Romania Libera, August 8, 1983)
Movement is the most beautiful quality of nature. It includes renewal, transformation, novelty, surprise, strength, refreshment, vitality. The whole universe is moving. Even rest is in fact only an accidental defeat of matter.
Lines can be strong in motion, they can change shape, they can speed up or slow down movement, they can direct or stop it in the image.
“The image is rigorously constructed, with sight of the ability to order gestural rational spontaneity with which spots of color lay on the page. Mobility as with tonal intensity, leads one to recall a certain fervor, suggests inner tension in the process, not exterior agitation.”
OCTAVIAN BARBOSA (excerpt from Modern Dictionary of Romanian Artists – Bucharest, 1970)
In 1977 I made a group of works on the 100th anniversary of the Romanian War of Independence, convinced that the linear texture can help me create suggestions for moving actions, relatively figurative, dynamic images segmented over time – inspired by the letters on the front of the soldiers that appeared in the poetry of the time.
“A few plans of interest that the artist has in view: the chromatic plains with an intensive and expressive focus, divided by the horizon, the rapport between the surfaces subordinate to a dramatic, clashing atmosphere; the graphical structure is based on a equal duct, nervous, often abbreviated, just like with the repeating symbols (signifying soldiers, military equipment, convoys, clashes of fighting, the ground covered with dead and wounded, etc.); the literary metaphor equates to “identity“ respective to the work’s title, allusive to the text, of the war front, especially for the ordinary masses, or in the verses of the epic poem.“
HORIA HORSIA (excerpt from the Romanian magazine “ Arta “ nr. 6 , heading “ Simeze “ 1977)
In a certain period of time I was interested in different groups of lines of different characters: thin, thick, straight, curved, vertical or oblique, that can easily create expressive meanings in still life works.
The lines are like a wind above the paper or canvas. Registering freely in the painting, they can suggest emotions, feelings of joy, anxiety, sound movements, rustling of the leaves, sensations of calm or stress, disappearances of ideas, emphasizing the life of the depths.
“The motif of the sun is in fact a permanent symbol of life, energy and becoming. The “Butterfly“ symbolizes the reverie, tonic nature of aspiring toward a lyrical purity… The use of trapezoids in the composition evoke the butterfly form floating with open wings.“
“Variations on the same theme bring so many aspects of both pictorial and poetic composition. The images carry a musical charge, accentuating these properties by carrying a vibrancy and motion that spreads the message for a love of life.“
HORIA HORSIA (excerpt from the Romanian newspaper Scanteia, May 27, 1973)
“A painting teaches us nothing; it attracts, surprises, exalts, leads imperceptibly and out of love to the need to live beautifully; it elevates and restores the spirit. That’s all.”
ODILON REDON, Excerpt from Romanian Art Journal
HORIA HORSIA : the magazine “ ART “ №.8, category “ Workshop “, Bucharest, 1973
OCTAVIAN BARBOSA : “Dictionary of Romanian Contemporary Artists“ the Meridian publishing house , Bucharest, 1976
MARIN MIHALACHE : “ Romanian Painting “ the Meridian publishing house , Bucharest, 1976
The magazine “ ART “ №. 1-2 , Bucuresti 1977
ION ITU : “ Artists Sibieni “ Meridian publishing house , Bucuresti 1977
HORIA HORSIA : the magazine “ ART “ №. 6, heading “ Simeze “, Bucharest, 1977
VASILE FLOREA : “ the Art of Romanian Modern and Contemporary “ Meridian publishing house, Bucharest, 1982
RODICA IRIMIE FOTA : “ Shapes and Colors “ Transylvania magazine , Sibiu 1983
ALEXANDER LUNGU : the magazine “ ART “ №. 8 , category “ Workshop “ 1983
ROMANIAN CONTEMPORARY GRAPHIC ARTISTS : album published by the Union of Artists of Romania, the Fund of Plastic
Artis, publishing Art, Graphics , Bucharest 1983
“ART” magazine nr. 8, Bucharest 1988