How do you visit an exhibition?
Do you walk by and stop only when impressed by something? Do you prefer the exhibits which seem to attract most of the crowd? Do you quickly scan around and approach only when you guess that the details would have been interesting?
Well in all of the above cases you would have missed Raluca's work. You would have passed by her invisible, to the naked eye, worlds.
Because everything is hidden in a minor part, a secondary level, but which, once discovered, becomes the protagonist, the centrifugal point of the frame.
Of course the author knows all that, and in a creative clever way, uses a chromatic bait to lure us into a seemingly artificial reality, a maquette detail where everything is synthetic, and where the horizon is a plastic backdrop, all backlit with a pink diffuser.
Following Raluca's work over time I come to the conclusion that she is a master of the negative spaces, her frames giving a meaningful purpose to a nonessential feature.
The more I look at the present picture the less I find a reading path other than entering from the thick, palpable chasm of an empty, foggy sky (or its simulacrum). A necessary void in order to introduce us to the main stage of homo faber, alone and lonely, surrounded by all his symbolic structures; bridges, stairs and engineered flora.
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