”The eleven artworks draw the attention to the human condition, to the absence, despite any appearance, of communication between people, to the fake facades of success, of the display, to the superficiality of relationships, to loneliness. The artist started from a realist vision or, in some of the artworks, combined the realist with the oneirically or abstract visions – to reach, in the end, to an abstract one.
. . . The world depicted by the painter is fascinating without excluding violence. In a painting where people are passing by, mechanically, hurriedly, without noticing each other, without communicating one with another, the passage can turn into a hidden, secret, protective place for an idyll. The passage painted by Ioan Aurel Mureșan is transfigured, it becomes a place loaded with feelings, the symbols of the existence. Not only the characters, but also the spatial composition adds to the articulation of a meditation on limits. The tilted walls can expand or obstruct the coming to light, up to the point of blocking any possibility of liberation – which can only be obtained by dream, by the power of imagination.
. . . Through his artworks, Ioan Aurel Mureșan makes us stop to reflect on the human condition. But the artist, with his fundamentally generous way of being, does not induce any compelling and sour sadness, he loves the world with all its enchantments, with the refined pleasures of the existence, having the ability to surprise us and entrance us with its mysteries, to make us aware of their diversity. He is a painter, and he ennobles this landscape, staying away from any glacial representations. The context, the lighting, the poetical field are very important, transfiguring the mundane, even sordid view, the cobweb of tiny deeds, the ordinary grey into images woven with emotion, and the spaces into charmful fabrics. The walls are painted with “graffiti”, with colorful rugs, and so is the floor, the passage becoming therefore a livable, even wonderful space yet, at the same time, a disquieting space for the hurried passer-by, too rushed to notice that beauty can come out from anywhere. He lets us in not only in a world that can be deceptive, but in a space with staggering painterly forms, fascinating fabrics, a poetical space where we can escape. The limits can be overcome, but only until the final note. Red predominates chromatically, in a multitude of nuances, with tiny indications, energetically loaded and, depending on the sense embedded in the image, here and now we find black, colored greys, purpled greys, laid in a thicker, flickering, harsh, yet sometimes silky, delicate paste. Ioan Aurel Mureșan is a magician of colors, who continues to amaze us with his way of expressing without ostentation, resorting to the means of painting, the path to the infinite values of life, through a suggestive accommodation of the work of art right between figurative and abstract”
