This first solo exhibition by Corina Surdu, which I am pleased to present, offers the opportunity to take stock of her artistic research. A solo exhibition is crucial for the artist because it allows them to see their work outside the studio, away from familiar walls. The impact of factors such as size, formal quality, and any potential flaws in the works becomes more apparent, as the pieces are perceived with greater clarity. It also reveals the common thread that links the works together. Therefore, it is essential to experience this moment, seeing many of one's works together, as it is an unavoidable step for growth in formal terms and for artistic maturation—either to confirm or modify the path taken.
Corina received solid artistic training in Moldova, her home country, which she further refined by attending the Academy of Fine Arts in Via di Ripetta, Rome. There, she engaged with the cultural debate of the capital and had the opportunity to experience major exhibitions and museums. This is an important aspect because her deep knowledge of the craft has made her humble and aware that a career must be built daily; this attitude is not common, it must be said.
She loves engraving and painting. Passion is the driving force that helps her overcome daily challenges, and by working every day like a craftsperson, Corina has developed her unique stylistic identity. It is precisely in daily work that answers to the most pressing and urgent questions are found.
Corina engraves and paints with great joy. We should not shy away from stating this; Corina demonstrates that satisfaction can be found in the daily, methodical application of one's craft. Her talent is supported by technical expertise, and her works are formally impeccable. Her production—both graphic and pictorial—is oriented toward distancing itself from naturalistic representation. The landscape can be glimpsed, and it is clear that it represents the initial idea, but Corina moves away from it, never resorting to photographic translations. In fact, she carefully avoids altering the horizon line in the compositional cut, which is particularly evident in the engravings, to surprise our gaze.
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When considering the small-format paintings, which are especially challenging to manage technically, one notices a vigor and control in the brushstroke—fresh in the watercolors and thick in the oils—swift and without hesitation. The color is clean, always striking the right note.
Corina has no fears, and I am confident she will not lose her way in the forest of life; she will navigate it, empowered by her talent and her knowledge of engraving and painting techniques
Excerpt from the text by Pierluigi Berto