Adriana Molea started her artistic career building a vision under the influence of iconic Byzantine art, which was acquired throughout her student years as an artist and restorer, enriched by the lessons of Gustav Klimt and Friedensreich Hundertwasser. Molea’s paintings have a direct visual and symbolic side, built around a conceptual inner message and surfacing through the voluptuous display of textures, signs, and structures.
The use of metallic covered surfaces originate in the spiritual practice of icon painting in contrast with the study of metallic or synthetic structures, which allude to the imagery of contemporary industrial design, sustaining a dynamic dialog and questioning our perception and cultural identity.
Molea’s works are in private and corporate collections in many countries including Canada, United States, Romania, Belgium, France, Germany, Holland, Greece, Sweden, and Italy.
As a normal development of an artistic vision, I needed to add a new component to my work. I included in my compositions sculptural shapes, enlarged representations of flowers and other natural or manipulated, artificial elements, all of which bring along new meaning and visual power. The juxtaposition of these new elements to the decorative structures creates dramatic contrast and new added interest or, in representing them on neutral backgrounds, the focus is on the shape itself, where drawing principles, the volumes and lighting become the important players.
I could say that the contact with North American art, mainly the creation of Georgia O’Keeffe and “Pattern and Decoration” movement boosted my creativity into new territories and added new challenges to my work.