Nicolae Haiu - The Critique

Nicolae Haiu is an intense Romanian artist who cannot be approached light-heartedly. In fact, there are multiple complex layers of interpretation that one must enter, experience and traverse to fully capture the essence of such an extraordinary artist.
 
There is a long and noble tradition that acknowledges the cross modal nature of art, from Goethe through to Mondrian and Kandinsky and in fact, Haiu himself describes his work as “visual music”; a description that perfectly illustrates the graceful fluidity of his work. A young mixed media artist whose work is elementally informed by his spiritual beliefs. The crisis at the heart of human interaction with the natural world, the erosion of morality, these are themes that figure prominently in the cosmology of Nicolae Haiu.
 
Haiu’s choices are fundamental. The choice of media highlights his eclectic abilities and capabilities; the choice of colour creates a powerfully dramatic and significant effect; the choice of subject is inspired by a free flowing motion of the hand that evolves into Surrealist elements of conscious/subconscious nature; the choice of the structural harmonic architecture of the artworks are like Dadaist breakouts from the bonds of ratiocination - reality is dismembered, overturned and transmuted into an almost inscrutable visual metaphrastic composition.
 
Nicolae’s search for that mystical existing or non-existent point, conjunction, union between the biotic and the mechanical; his pursuit of the symphony within the cacophony, is a passionate enterprise that questions our coherences and vehemently turns them into doubts. We know not where we stand when facing Haiu’s artworks, he challenges our steadfastness in an extreme attempt to wake our consciousness to the distance we have created between the temporal and spatial cosmic extremities.
 
Henry Adams said: “Chaos often breeds life, when order breeds habit” and our habit to desire a tranquil, oblivious life is met with Nicolae Haiu’s artistic provocation. Are we audacious enough to take up his glove?
Karen Lappon
International Confederation of Art Critics