1. Corina Breteanu, Livia Lisan, Vasile Muresan - Murivale, Cristina Nedelea and Beti Vervega, senior students of the "Luceafarul" Art Academy (in T. Moraru's class) have opened an exhibition at the "Galla " gallery, which marks both the end of a period and new beginnings for these young artists.

Although it is not their first exhibition (some of them having already opened personal ones, while others had works of art displayed in various collective exhibitions), their works bring forward several elements that cannot be ignored.

First, this exhibition shows the strong cohesion of the whole group and their high value standard.

Secondly, it outlines the special relationship the group had with their teacher (who doesn't impose types and do not challenge similarities), his presence making itself clear at the level of artistic thinking and not at that of the direct expression.

And thirdly, each one of the artists has his own individuality, showing a lot of maturity and good skills in the way he/she expresses himself/herself.

Cristina Nedelea and Beti Vervega are mainly interested in colour, its energy being directed towards the most unpredictable art works, while Livia Lisan and Corina Breteanu, using a narrower range of colours, try to focus more on the state of mind, poetical touches and instrospective insights.

In a very interesting way, the painting of V.M. Murivale combines three elements, i.e.: the chromatic aspect, the analytic nuance, and the intellectual contemplation.

His "dialogue" with Pierro della Francesca (via the well known portrait of Federico da Montefeltro) is a proof of such an interesting correlation, being analytic, visual, and contemplative at the same time.

Article written by Pavel Susara, art critic, in "Liberty" newspaper, May 1996, for the "Light and colours" space.

2. Beti Vervega's exhibition at the "Galla" gallery introduced us to a young artist with a very interesting style.

Generally, when attending a painting exhibition, the public expects to see framed works of art. In this case, however, the canvases beautifully painted in bold colours, were hung directly on the wall or, suspended from the ceiling, calling for the viewer to "enter" the painting, as used to say the Italian futurists at the beginning of the century.

We should also take this opportunity to clarify another aspect of the exhibition, i.e. through her unique style; the artist has made us think more of the graphic side of the art, since she has been mainly focusing on the "sign", the "line", as the pivotal element of her art.

Nevertheless, it is a drawing backed up by colour. Had the focus been laid on the colour itself, its hues or, the depth of the colours, then the whole "balance" would have tilted towers painting.

It goes without saying that the artist uses technical means for oil painting, but her sensibility is drawn more towards a graphic rendition of a particular idea.

Overall, her works "speak" more figuratively, representing "something", either characters (usually faces or, profiles), or fruits, objects. The ones that show "still life" (fruits and objects) are more attractive than those representing human characters.

The drawing, its "line" is definitely stronger coded, more suggestive. Let's take as an example the work entitled "Fruct II"("Fruit II") where the colour is close to the "water colour" style, and the drawing is the real "power" that tells the story of this fruit in a very original way.

We can also talk about her "plastic" technique which we found very "fresh", very original.

Contrary to resorting to the traditional way of canvas framing, Beti Vervega makes sure that the painting stands for itself, by its "cut" which transcends the space or, the projected limits of any work of art. Such "cut" is sometimes an irregular edge similar to lace after being cut with scissors or, in the case of "Fragment II", the cutting is no longer irregular, but quite minutely detailed.

The painting is divided into "fragments" in such a way that surprises the viewer by bringing the "real" space into that of the "image".

As I've already mentioned, the various human characters do not trigger the same effect as the painted objects. The human face presented through different lines (somewhat angular), the way a beginner would draw, is quite characteristic to the art belonging to the first decades of the century, German expressionism. Towards the end of the '70's, German artists tried to pick up expressionism via "Neuen Wilden" (New Wild People) which, unfortunately, did not reach the same wealth of substance as the original wave, being actually a "dilution" of the previous one. It was more like a vocabulary carry-over terminology.

"Neuen Wilden" has a lot of followers in Romania as well.

We are not against the adoption of new vocabulary, but we'd rather have the artist lay emphasis more on expressing oneself, and not create the impression that he/she is conveying something that had already been seen and said.

In our opinion, Beti Vervega is an artist full of qualities, who has a solid base for initiating her own style.

The text was broadcasted by the art critic Luminita Batali, via "Radio Romania Cultural" on the occasion of the opening of Beti Vervega's 1997 personal exhibition at "Galla" gallery.


3. Between 1989 and 1991 Beti Vervega painted the interior and all the icons of the Orthodox Church St. Nicholas from Bos village, Hunedoara county, in "al fresco" technique.

4. She painted in 1997 by order of McDonald's Restaurants for Oradea In-store Restaurant (in the centre of the city) 13 paintings of different sizes (strips, trapezium, and triangle).

5. In 1998 Societe Generale Bank bought from Beti Vervega 2 big paintings, oil on canvas, for 2 000 $ both:

- Personage with idols
- Panel with portraits
These paintings are showed in Societe Generale Bank office from Bucharest.