Visually organized into two distinct and successive typologies, seen as a biographical consequence, the melancholic void of the Transylvanian hilly landscape, and the lush and isotropic vegetation of the exotic south in Bali or Togo, the paintings are charged with an anxious intensity.
Circular hills or claustrophobic vertical tropical forests are organized in the image plane through contrasts of complementary colors, ensuring a chromatic tension in the image. With a true horror vacui organizational approach, Ioan de Moisa seeks a unified notation that can be used regardless of the integrated background images, where it is easy for us to sort the pairs of complementary colors that structure it, thus making the composition vibrate and extend the visual field, ordering our gaze to never stop at a fixed point, like the logic of a camera.
[...] Petrichor is a patented term in the English language, in the field of chemistry, which, starting from the Greek "the blood of stones," designates the smell released in the air by the rain falling on dry ground. It is produced by a molecule called "geosmin." I bring up this element because I believe it is intimately linked to the nature of the two proposed landscape typologies - the Transylvanian autumn rain and the sun-drenched dry soil of the exotic south - as well as the mineral quality of chromatic treatment. [...] - excerpt from the exhibition text signed by Horaţiu Lipot.
