CRITICAL REVIEW

          Ethereal Limoges or Hutschenreuther porcelain conglomerates envisage space in a haiku. Organic textures become Breezes, Flights, Marine Fluidities. On rare occasions, porcelain works in tandem with tiles to create telluric consistencies (Archipelago, 2009). What brings the sky closer to earth is represented by the Domes series. Surmounted over the world, they dress the being in Spirit. The dome is lined with positive energies, removing any chtonic traces. It shelters halo like ennoblements, purifying condensations, true conceptual bridges that are claimed from the Platonic Phaidon. Cristina Popescu Russu’s works are kalokagathic universes that dispose the world of ugliness, evilness and ambiguity. Her compositions are compact gestures in organic fluidities. They borrow from nature rhythms, dosages, colour schemes, all of which are seemingly substituting Taoist principles. The whole assembly together with the material contributes to the coagulation of the concept, without twisting its substance. The work’s core is amplified by every intervention to the point where harmony becomes absolute - a savoir faire (Fingerprints, 2004). 
          Porcelain acts like a living organism, with systoles and diastoles, in the work Seven Dreams (1988). Coronary exuberances of ovoid flashes contour the world’s origin in Genesis. Sometimes, Cristina Popescu Russu’s works are heading towards an experimental field, bringing into focus mail art or ecological messages, transposed into land art.

Raluca Băloiu (2014)