1974 in Cluj-Napoca, Romania. Lives and works in Cluj-Napoca.



University of Art and Design in Cluj-Napoca, 1993-1999. 2008 PhD. in

Visual Arts;

Professional Position: Lecturer, PhD. At the University of Art and Design, Cluj-Napoca;

Member of The Union of the Professional Artists of Roumania.


Solo exibitions (a selection):

Blue Lagoon, Contemporary Art Space in Cluj, 2014; No chlorophyll, The Art Museum Cluj-Napoca, 2009; Landscape – egospace or personal mini theater, The Art Museum Cluj-Napoca, 2008; No chlorophyll, The Old Gallery of the Union of the Romanian Artists in Cluj-Napoca, 2007; Painting & video projection, The Old Gallery of the Union of the Romanian Artists in Cluj-Napoca, 2006; Subjective landscapes, The Art Museum Cluj-Napoca, 2003; Mirages, The Old Gallery of the Union of the Romanian Artists in Cluj-Napoca, 2001;

National group exibitions (a selection):

Annual Art Show, The Art Museum Cluj-Napoca, 2007-2013; Motion-

Emotion, AnnArt Gallery, Bucharest, Hangar Gallery, Cluj, The Art Gallery, Iaşi, 2012; Art in the Garden, Zalau Culture Center, 2012; Show on the

balcony, The Art Museum Cluj-Napoca, 2011; The Fog, The Art Museum Zalău, The Art Museum Cluj-Napoca, 2010; Neo Real, The Art Museum Cluj-Napoca, 2008; Present, The Art Museum Cluj-Napoca, 2007; Cluj Painters, Senso Gallery, Bucharest, 2007; Land Art, Făget Izvor, Cluj, 2006; Art-east, The Gallery of the Union of the Romanian Artists in Cluj-Napoca, 2005; Pink Grey, The Gallery of the Union of the Romanian Artists in Cluj-Napoca, 2004; Annual Art Show, The Gallery of the Union of the Romanian Artists in Cluj-Napoca, 2003-2007; Contemporary Art Show, ArtExpo, Bucharest, 2002; Possibly, The Art Museum Zalău, 2001;


International group exibitions (a selection):

Meeting Point, Arad, Romania, 2013, Transparent/ Opac, France Cultural Center, Cluj-Napoca, 2006; Natural/ Artificial, Gallery Casa Matei, Cluj-Napoca, 2006; Young Romanian Artists in Mainz, Germany, 2004; Contemporary Art Fair Budapest Art Expo, Hungary, 1996, 2000;



My whole creative path is a careful search in the network of the different possibilities certified during time by art’s approaches. I am not contenting myself to undertake the results of the investigations of the other artists from different currents, but I rebuilt an itinerary which I follow “on my own”: the attraction for abstract, the appetite for composition exercises, the work on the painting material and exploring of materiality and also the extension of these to the space of subjectivity offered me marks which helped me to discover my own way. In other words, my personal artistic approach is connected to models of image configuration, of media and consecrate means of tradition actualized in a post-modern vision.

In painting as well as in my interventions in situ there is a tendency of serializing, cycles can be identified, which represents studies on the balance of full-empty, color – form, texture – structure.

As a painter, I join the artists who transfigured the objective reality in order to transmit an imaginative experience. Sensitive observer of reality, I let myself conquered by the novelty of the natural sights, by the vegetal exuberance, the relief forms tenseness, by the rhythms of the city. All these nature’s aspects do not function as picturesque attractions, but become a reason for some studies of chromatic assent, with a plastic formal construction. Reality is submitted to an abstractization that looks forward to discover the essential, in a formula which synthesize the intellectual approach and the sensorial one through the picture appeal.

  The introspective road is uncovering, but is also hiding under the successive “masques” strata, each landscape including the one who watches in a game, by some kind of illusionist exercise. The association of images with the natural sight is a seductive appearance, but deceptive: the sight becomes a landscape reason and this one motive for an invitation to an imagination exercise.

 If the preoccupation for the expressive organization of surface by texturing the canvas is obvious in the paintings from the series „Mirages” and „Subjective landscapes”, lately, the tendency to overcome the step of tactile painting by purging the surface becomes more obvious.

A dematerialization of forms is realized, in the same time with quitting the laces of the relief, looking for an essentialized structure, not schematic of the visible. An option modification is also present – toward the city nature, as well as a translucent link to nature’s evolution, within which the preoccupation for the ecological problems is distinguished (the painting series „Without chlorophyll”).

In these paintings, the world explored is the one of the close reality, from which I extract moments – sequences, taking pictures of them and which I recreate in order to give them back to nature. The main source of inspiration is now the city nature, polluted, without leaves, wrapped in fog, with a lack of vital pith, CHLOROPHYL. We are talking about nature surrounding our own habitat, in its situation of shadow projected on the room’s walls.

The testimony photo, with a special interest for a certain photographic frame represents the motive for the creation of some paintings which try to decrypt the poetry of the sleeping city nature. In the studio I try to reflect it, under the impression of my own emotions, using discrete value variations of a thin palette of grey. Reality is transfigured, passed trough a register in which suggestions and plastic allusions come first, shaping the ego-space. A series of compositions, marked with powerful lines, getting unwitting trough the canvas surface, develops possible configurations of vegetal. They have as an origin a dialogue with natural frames with a lack of picturesque, discovered by the eye and reconstructed on the canvas surface, with a wish of concentrating the expression; this is realized also by using the new method of treating color:  limiting the palette to the grey and brown area subtly tinted.


Mihaela Gorcea