Andreea Albani is an artist living and working between Bucharest and Paris. Initially active in the medium of painting, the first works from this stage of creation treat in an apparently abstract language an identity theme of dissolution, which had as its impetus a major biographical event of liminal order - the physical disappearance of the person whom completed her emotional system. The extended practice of the artist starts from the pages of a diary (which in turn became a work, “Writing at the speed of thought”), where agglutinated words gradually came to no longer name anything, and became simple lines of expression that only mimic the symbolic form of the word, like an ideogram.

As the artist herself notes, in a drawing the words cannot be in order, the signs were taken as such and represented in seemingly abstract paintings. If we were to analogize in an isolated system all this tense agglutination, with irrational and statistical temperatures, it would certainly be in a system of high entropy. However, for Andreea as for most individuals, Maxwell's demon, who decided what to filter or not in the fluid consciousness, was time itself - the only measure we apparently can't yet snatch from the clutches of determinism. One by one the paintings reduced their surface and organic mass, reaching the essentialized form of drawing on paper, the line became like a constant, this time being the only informational catalyst of a distant event, precisely delimited and quantified from the rest of the system.

Then the gesture also evaded direct involvement, being isolated through the video medium in works with an emphasis on the process, presented in the series The Trace. Heterogeneous to the thermo-dynamic parallelism, this process of distancing and ordering is one in which entropy is in a continuous state of decay in the psychological system.

The third stage of the process, presented in the two modular installations in the exhibition, is one in which the line is completely purified of any gesture, becoming an object. Through the technique of laser cutting and the preference for using industrial materials we speak of harmonic detachment through perfect knowledge of the system and its statistical factors, without movement, without temperature, without uncertainty - entropic zero. Andreea Albani expresses this state of immovability from an ideal system, without external implications, without memory or information, in another journal page, this time mixed by the passage of time - When there is only present there is no space.

Unitarily seen, all these symbiotic and symbolic fragments reveal before us, articulated as in the case of a mathematical demonstration, a meditation on the holistic nature to the detriment of the compositional one, of symbolic representations.

Human beings have adapted to the physical environment by creating a dimension beyond physical reality, an intersubjective reality - a symbolic universe that goes beyond the external reality of the natural world. Individuals learned how to separate what they were experiencing at some point in time from the meaning which they have attributed or associated with that experience. In the anthropological or sociological field symbols are defined as forms of representation of thought, as precisely outlined prolegomena of complex actions, as for example a rectangle of a canvas in primary colors represents the whole history and local values. If the first written symbols were based on pictograms (images that resemble what they signify), in the evolutionary circuit these are followed by ideograms (images that represent ideas). Using symbols seems to be an essential step in the evolution of consciousness - one that gave people the ability to express the intangible of the imagination.

If we refer to actions, at least three different types of processes appear to us in the involved related representations: visual recognition of the action, its verbal description, and control of the action. Language in the absence of actions would be non-existent, as it may very well appear to exclusively dominate them. From this perspective, Andrea Albani's works require first of all space: large walls and a distance large enough for the eye to encompass the overall picture that stretches undefinably, up to a few meters in front of the viewer. This monumentality of the artist's works is not exclusively defined by the surface of the works. In fact, they turn out to encompass constantly changing parameters. While the first glance palpebrally records only a buzzing cloud of tangled black lines, scribbled marks and imponderable shapes, a closer look reveals a foray into a dialogue about the holistic nature of symbols, and their ubiquity in defining any action. However, the concreteness of the precisely delimited forms always has a fragile appearance, rendered with a reluctant meticulousness, devoid of passion.

Any vision of suggested perspective will be interrupted in the next moment by a new wave of divergent lines and plans. There seems to be no fixed center in the vague spatial illusion, despite the many vanishing points, they seem to unfold in different directions. The multitude of perspective elements dissipated from Andreea Albani's paintings build a fluid world in which everything is in progress. (Horatiu Lipot, curator)