Corneliu Stefan

The ceramics created by Lucretia Milea imposes a so clear and artistically professional language that the critic finds himself in  the position of a schoolboy asked to say what he understood after having made the effort of disjointing a “whole” with the obvious quality of ineffable.

We can mention the theme of the labyrinth, the technique of the rhythm of the moduli and cylinders, of the space within a space, of the contrast between the pure shape and the intimate net of the mycelium, all of them obviously related to the modern house inside, from which we can conclude that it is an excellent ambiental art of pottery. Well, but what is special about Lucretia Milea's exhibits as long as most of her collegues create the same kind of ceramics? The geometry, the creative combination of volumes and surfaces, her subtlety of poetically individualizing the white? Undoubtedly, but these remarks can be true for many of our ceramists. Lucretia Milea enjoys (we think) a peculiar power of suggesting the “monumental” through her small, minutely worked out creations. A single object can change the mood in a room, asking for a certain adaptation. The exhibits are really monumental forms, cleverly repressed (not miniaturized), hence the impression of cold and force even if the technique is of minuteness one.
- "Opinia" Nr. 67, 28 march 1990