Just like a Slavic Falstaff, Petraşchevici represented an astounding freedom enzyme which marked the field of artistic communication, at least in the ‘80s generation of visual artists from Bucharest. In a bohemian atmosphere hard to imagine in the last decade of the Ceauşescu regime, and in the new wild capitalistic regime, as well, Petraşchevici “performed” artistically with his own existence, under the eyes of his friends and in the world of marginal exhibitions. Costică’s endless offerings (consisting of small graphic, textile or recup-art productions) constituted a in-progress exhibition, spread out in various houses in Bucharest, in his physician friend’s home in Focşani and, eventually, in Iaşi. To manufacture from thread, strings and twisted stupefying scions and crossbreeds, particularly botanical and domestic. With Fellinian humor, he created objects and assemblages of a meticulous Poverism. Through his bohemian-nomadic condition he prefers miniaturization, but when he was at ease, he impeccably put into place a few meters of heavy pumpkin stalks and preciously painted duck beans, which travelled, with a few temporal stops, between the artist’s acquaintances. The installational accumulation consisting of thousands of carefully autumnally painted toothpicks from the 1987 critical colloquium in Sibiu also remains memorable.

Aurelia Mocanu (2014)