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In most of her works of Christian-Orthodox conception through using the scholarly artistic language she combined happily the two terms: the sacred and the modern by demolishing the scholastic and conservative forms lacking content and life. Aculina's art has never been made up of isolated elements or forms, but rather always of the relation between forms - symbolic objects ( the wheel, the ladder, the cross, the angel, the icon ), forms- phenomena (the light, the fire, the sky), forms- beings (man, Animal, birds, fish) deepening the sacred symbolism through the transcendence of the telluric and the aspiration towards eternity. As regards the anthropomorphic sign, it tends towards the calophilia of the traditional icon, („Icoana/The Icon” –Cuvioasa/The Venerable”,„Arhanghel/Archangel”, „Inger/Angel”, „Invierea lui Lazăr/The Resurrection of Lazarus”, „Chipul lui Christ/The Image of Christ”) The dedicated iconographic theme creates images which impose transcendence by recovering the iconic tradition through an acute need to project image into space by the help of light. The relation of contemporary art with traditional spaces preservers of faith proves more than vital to Aculina's artistic creed. For the artist Man was a generator of symbols. He is situated in the center of the symbolic world and he appears „depicted” in her works as a synthesis of the worlds, a miniature model of the universe, a microcosm. Whether it is clipped, wrapped or betokened, the human body represents a direction of a plastic culture approached by Aculina in underlining the connection of the sacred to the profane (the connection between the sky and the earth). The key element to transcend is, in fact, the body, the new archetypal body. The ritualistic character is greatly supported by the large conceptual drawing „Genesis I and II” whic h appears as a crust of the dry, arid, unknown lands, a kind of separation of the waters from the land. In the lyrical-abstract works, the artist cultivates a geometrical symbolism where the light is absorbed by matter conferring it spirituality. With a shattering inner plastic tension Aculina offered open spaces, a sort of unleashing of the matter. Hence, the feeling of perpetual burning and extinguishment of inner forms and energies (lightning, fire, stake). There are different temporal states of contraction, expansion, dispersion, concealment, and revelation, lived by Aculina. The human silhouettes (between figurative and abstract), by displacement, leave behind them a light-like void. In order to fill the void semantically, the artist tries to render messages with a biophysical, astrological meaning. There is a vacuum crisis (horror vaqui), a world of signs, an encoded writing which populates the space in its perpetual movement, without stopping and the destructured plans deepen the space which becomes mysterious. The signs and ensigns sometimes coagulated, implosive or explosive step out of the tensioned world of the painting, while the artist proves that joy or misery change the course of time making it hardly perceivable or even endless. Aculina's connection to nature was inevitable and it did not take into account only the privileged places but also the harsh ones, the desolate ones marked by destiny, by fate. („Refugii/Hideaways” ,the cycle „Exodul/the Exodus” or „Amintiri din Bărăgan/Memories from Bărăgan”) . In her artistic endeavor close to nature (mater-materia) Aculina started from the primary village, centrum mundi thus conferring balance and constancy to the artistic discourse. The rural space re-entered the artist's attention because at the back of the memory resides the serious recollection from childhood of the exodus to Bărăgan. The village is a visionary theme performed skillfully and accurately in ink (black and white) which invoke the ritual and morphology of the pastoral works. (carriages with hay, haystacks, sheaves of wheat, horses-horse riders ).
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