Diamond Kiss

Influenced by the unique rural landscapes of Transylvania, the place where she was born and have spent most of her life, her paintings emphasize the shadow-line between the organic and the inorganic. Her aesthetic worldview is profoundly mythical: it depicts a world in which color breathes life into inanimate things in order to conjure up playful, suggestive associations along a broad spectrum of themes and forms. Houses have smiling or grinning doors, cheerful,winking, or teary windows, depending on their moody personalities. Chimneys protrude as if they were limbs. Trees hold hands and dance together, witnessed by the curious glance of birds, cats, and fish from behind the bushes. Winding roads follow their spiral course, according to their own precarious will. Color and composition jointly intend to disclose the immense network of cobwebs connecting all these things together, making them part of a highly sensitive organic universe in which every tiny quiver is perceived even in the remotest corners.

In order to achieve this aesthetic effect in her paintings, she continuously strives to blur the spheres to which traditional imagination usually confines things, whether living or inanimate, significant or trivial. The uniquely shaped, handmade wood frames do not enclose but rather extend her works. They invite her compositions to spill over into the fantasy of the beholder. Line and color give shape to things that surface from her memory but also beg to live on and be part of the lives of her audience. She seeks to paint birds that uniquely embody all birds, houses that somehow envision all houses, and colors that include all the colors from dawn to dusk.

She guesses the reason why children have always been especially responsive to her work is because they still possess the intuitive understanding of such a universe in which everything is connected. After all, who is to tell when childhood ends?