Being active in the late 90s in Timişoara, Simona Nuţiu Gradoux is one of the artists involved immediately after the Revolution in creating an artistic climate in favour of the experimentalist and innovative approaches. In 1991, she was part of the White 16 group (with Sorin Vreme, Marcel Brăilean, Tiberiu Giucă), which initiated in Timisoara an event – a contemporary art festival called Untitled State, conducted both in a conventional setting and in the street.
She made her debut with paintings, but her personal plastic researches on human anatomy sent her gradually to forms of expressions in which three dimensionality found its place increasingly more often. The sectioned body, the metamorphosed body, the evanescent body, the fragmented body are some of the artist’s ways of relating to her work’s dominant theme.
In the Chimeras series, the transparent structures are conceived in correlation with the shadows that they project, therefore, the physical presence could range between permanence and ephemerality. The game that the artist proposes in this case is linked to the relationship between materiality and the impalpable.
A secondary major preoccupation of Simona Nuţiu Gradoux is related to the vegetal universe. Starting with amorphous, nodular structures, which are integrated in a fibre network looking like nerves (in the Rhizomes instalment), the artist will eventually come to develop hybrid forms, a combination between anthropomorphic and vegetal (in the Anomalies series).
Placing into the visual field her artistic concepts leads to the use of some less conventional sculptural techniques. The artist is interested in exploring the properties of some materials such as plastic, silicone, synthetic glass, polyurethane or polystyrene.
Maria Orosan-Telea (2014)