The painting: screen-surface and place of projection receives the energy of gesture; gesture bends and rotates in the air, naming, unseen, in space the virtuality of a certain form.

The gesture which attracts the form is developing in front of the canvas; the shadow of this valted, seducing danse has the colours of the prism: pure, burning, immaterial; even black becomes soft and tender

colour as a projection of form,
wine as a projection of vine,
the being as projection of the spirit,
the seen as a projection of the "unseen"

and if only the projection, a mere shadow, is os intensly shining, how can the unnamed, premonitory form situated within the space between the surface-image and the look be? How intensely does it shine in the white light of the genesis?

As if the unseen Body was the prism suspended which casts the colour of the rainbow on the surface of the canvas.

Claudiu resembles those workers who press the grapes to make wine without touching the vine. He has a way of painting without touching the secret model; he merely caresses, enabellishes, rotates, envelopes and calls it. Thus his painting becomes a mode of being silent joyfully about their spirit, about the light of their miraculous, real, visible and eucharistic shadow, about "the joyful extasy which takes the mind out from its link with feeling".

Naturally, line and colour become equal, for they are the projection of a sole gesture and faith; their extatic danse creates thevery body of the image, imponderable and living in reality only as pattern, Reflex and memory of the divine model, the one that justifies their existence.

Thus, you can become drunk with the joy of its lively and shiny presence, you can paint the model in a thousand ways without naming it, happy with the throught that "vine makes wine, wine leads to drunknness and drunknness to extasy"

Ramona Terdic Novicov
Art critic