Cornel Radu Constantinescu
Ceramics, as species of decorative arts, requires a special dealing with, not only according to its material and technology but also to the logics of its manner of expression. The figurative element, pointed out by ceramics, more widely but more precisely said, the appealing to the human element, lies in the concreteness and functionality of the artistic work (even when it turns the strictly aesthetic side into mere functionality.
This thing is fully achieved by Lucretia Milea in a fundamentally modern and lacking in affectation manner, fact that entitles us to speak about her real calling to the decorative arts. Thus, it stands to reason that, in her artistic work, the emphasis isn't laid on the ornament but on a deep understanding of the rhythmics, motivated by the meaning of the work, by her view on ceramics. Hence her avoidance of rich chromatics and preference to subtle, severe tones able to point out the eloquent simplicity of the form.
Through basic geometrical structures such as square, sphere, cylinder, Lucretia Milea enlarges the motif of the labyrinth that is common to the whole human culture and civilization, having inexhaustible meanings like its own structure. As a rule, the labyrinth is sectioned and thus its inner side is easily revealed. Its mystery lies in its ordered and somehow sculptural expressivity, maybe in the suggestion that the possibility of an endless division is a mystery in itself, an eternal source of delight.
To us the labyrinth is equal to the infinite, and if one of its concrete representation seems inevitably limited, its constructive principle in endless. That's why Lucretia Milea's artistic works don't appear monotonous and redundant but, on the contrary, new and challenging. The arrangement of the structures, also having in view the dimension properly pointing out the theme, is doubled by a subtle intellectual spirit of ludic tendencies.
In Lucretia Milea's art there can be perceived a permanent union of the extremes with such a great sense of naturalness that it could be unnoticed. She builds up solid and firm volumes which, although mobile, can't change their position, sometimes she resorts “to the stone stillness trough fire” of some wire-nets, thus, revealing compatibilities between ephemer and duration , between fragility and indestructibility.
Lucretia Milea's works point out, behind the rhythmic tension of the details, a remarkable static balance. They lie on pedestals as if they were stuck in the ground, their foundation is large and steady like any building's hence the feeling that her artistic thinking is well directed towards the architectural principles. The whole ensemble of her works of art, actually “decorative vases” as they are usually called, displays an imaginary town which has never existed and will never be real, which existed in the past and could have the chance to come into being. (the “Galateea” Art Gallery).
- Contemporanul Nr.4 (2 201), 20 ianuarie 1989
