Corneliu Antim 2
The Lesson of the Equilibrium
If the ambiental arts (that is said in order to enlarge their traditional area defined especially by the limitative insignia of decorativism) know today a moment of strong resurrection of technologies and of the means of expression, that is also because the object of artistic research outran many of its initial functions.
The fire crafts those moulding glass and especially clay aspire to the condition of forum fine arts and even when they come out to light the searches meant to amplify the symbiosis between the utilitarian and the decorative functions are not excluded. This is a tendency in which the number of formal innovations is boundless though never enough to saturate the public's demand and taste. Lucretia Milea's ceramics answers, through whatever her art has as more outstanding to all these plurivocal openings manifested by the contemporary fine arts of the environment. The artist is mastering the specific techniques and she operates in the field of forms without pushing the traditional moulding beyond certain limits, intelligently winning the expressiveness of the material, creating kaleidoscopically ingenious metaforms, a kind of spatial glasses on the edge of the figuratively fundamental modules cylinder, sphere, ovoid, and cube.
The combining possibilities are endless and thrilling, the artist coming out with this game in a pure and refined way, introducing us in her own fascinating universe. It is the “rule of the game” the astonishing ways of the architectural aleatorism which dictates to the artist the audacity to raise in space ambitious monumental projects. From the fields of delicate creations, perfectly geometrized, “wounded” here and there by various formal interventions which are amplifying the expressiveness of the object (laces, networks, etc.). Lucretia Milea passes in the field of the loquacious ways of expression full of sculptural force and stateliness even if for the time being she refuses herself this hybrid, this newly come in the agora assembly the ceramic sculpture - which proposes in a daring and inventive way not only unwanted materials and technologies but also an expressive vision which has been unrestrictedly assimilated by the town environment of this end of the century. Thus there is a concordance between the restless spirit of the century and the creative, inventive and sensitive zeal of the new generations of artists. The well tempered modernity of whatever Lucretia Milea offers as fine art has as a source of persuasion this harmony
between apparently contradictory principles.
