RUSSU POPESCU, Cristina (Cristiana)







REFERENCES


        Cristina Popescu Russu has recently taken into consideration a poetics equally attracted by the natural and the geometric: she assumed the suggestions of the vegetal within the more and more combed-out tissues/textures, of the simili-abstract shapes or of the shapes displaying elementary geometry (Misses Birchtree). Artist’s interest to simulate and transpose in fine porcelain other materials - paper, wood, stone - within a more and more minimalist approach (see Between Sky and EarthBreezeDialogueShadows) is obvious. The laconicism of the vertical or horizontal shapes, the chromatic economy, often reduced to white or to some black graphic interventions, make us think of a "Nipponese elegance" which impresses by its concision and poignancy. From this point of view, the series of Letters, achieved of white ultrafine porcelain, "stamped" with white characters, hieroglyphs, knots and signs, stands for a fulfilled synthesis of Cristina Popescu Russu’s route: in these refined and apparently useful enigmatical objects - in fact, enjoying a purely visual beauty -, the ceramist shows both the entire skill of her trade, and the cultural subtlety her art has always endeavoured to offer.
 
Magda Cârneci (2012)
Fragment published in the Art Album 7 Das Metadekorativum, vol. III, Klartext Publishing House, Essen, Germany, 2012

          Porcelain is a difficult medium to work with; at the best of times Cristina Popescu Russu manages to deftly create beautiful, eggshell thin porcelain vessels, which display a looseness and sense of freedom seldom seen in this material. She has found a winning formula in the dichotomy between thinly rolled porcelain slabs, structured surfaces and abstract designs, applied in the form of sometimes surprisingly thick engobes and glazes.
 
Steven Goldate (“Ceramics today”, Australia, 2005)
 
          I think the great interest stirred by the ceramic objects witch Cristina popescu russu arranges in space according to a remarkably coherent „script“ in her first personal show (the Galateea show rooms) could be explained arhetypally.
          Whenever one gets into touch with the “primitive image”, with the archetype, says Jung, one experience a feeling of liberation, in such moments one is no longer am individual, one is the species and the voice of the whole of human kind reverberates inside him. Archetype is a figure or a process that repeats utself along the history wherever the creative imagination runs free; it is considered to be the psychical residue of countless events of the same type and represents the average of millions of individual experiences. Gaston Bachelard writes that to those who pick their dreams from the nature the most inconsequential mound is a gift - bearer.
          The artificial mound, the tumulus - which surely relates to the symbols of the mount - is the archetype used by Cristina Popescu Russu. More precisely, she heeds the interrelated associations, the superimposed symbols. Rven the technical procedure she uses is the procedure of the beginnings - that is, the procedure belonging to the age prior to the rotary table or to childhood games - through the clay scroll unfalded in a spiral (the theme of the maze also finds its place here). In her mounds and tumuli of small and relatively equal sizes, the stress is laid rather on the inner content which is barely assumed and never displayed. The place of the secret is only signaled (suggested throug superimposed, decreasing grilles, set in order or in bindings with knots, through borings toward the inside, trough writings in fancy extinct languages or differences of materials and colors). The show is characterized by a density of problems; the ceramic object turns from an “object to be seen“ into an „object to be thought over”.


Mihai Drişcu (“Tribuna României”, 1985)
 
          At her first personal, Cristina Popescu Russu introduces herself as a strong crayoned personality, a top artist of decorative arts. The ceramic objects, beginning with their creation and presence in the exhibition hall, reveal a high rigour and a superior professionally. Assembled in a way yhey are considered a coherent speech, they shock visually in the first moment, by they are organised in a chromatic structure extremely stylish. In the next moment, the eye would catch the ideate burden of the ceramic group, and the secret will of the artist who rises beyond the object to touch the symbol, that is the fertile symbol of the labyrinth, that masters the event entirely. Althoug she uses a very common shape for her generation, the tumuli, Cristina popescu Russu knows how to posses it with an unmistakable scent, enforcing it with identity. The object, as a result of a modelled square clay form, is most often convered by ideograms, revealed or hidden by nets and stripes. These callotes, architectures, alway integrate in their structure, the circle and the square, absolute forms, considered by Platon “beautiful by themselves”, the circle suggesting movement and development and the square, antidynamic form by excellence, leading to the idea of stability in perfection. As already seen, the two shapes put together are interpreted with our understanding, as a dynamic image of dialectic between the idealistic - celestial element that human being aspires to, and the terrestrial element in which the human being is rooted.
          If in addition to those two elements we place the idea of the labyrinth, becose the tumuls are always covered by labyrinthine routes, we will discover the rich symbology and ambigousity of the ceramic objects created in a perfect accuracy by Cristina Popescu Russu.
          The nippon elegance and simplicity of the forms, the symbol value of the ornaments, the spirit of rigurousity that directs the entire group. All these, undoubtedly compel recognition of critics, colleagues and audience.

 
Olga Buşneag (radio presentation, july 1985)